THE  DRAMA  LEAGUE  OF  AMERICA 
National  Headquarters,  736  Marquette  Bldg.,  Chicago 


Percival  Chubb 


Mrs.  A.  Starr  Best 

Frank  Chouteau  Brown 

Richard  Burton 

Archibald  Henderson  . . 

Brander  Matthews 

J.  Howard  Reber 


Mrs.  Wilbur  Blackford 


John  C.  Shaffer 


John  D.  Barry 

Mrs.  A.  Starr  Best 

Charlton  Black 

Frank  Chouteau  Brown 

Richard  Burton 

Percival  Chubb 

Barrett  Clark 

S.  H.  Clark 

Mrs.  Samuel  Clover 

Mrs.  Arthur  M.  Dodge 

William  P.  Gorsuch 

Theodore  B.  Hinckley 

Miss  Alice  M.  Houston 

William  E.  Jenkins 

Brander  Matthews 

Mrs.  John  O’Connor 

Miss  Kate  Oglebay 

Mrs.  Wilbur  Blackford 

J.  Howard  Reber 

Mrs.  James  Harvey  Robinson. 

John  C.  Shaffer 

Mrs.  Marshall  Smith 


PRESIDENT 


4533  Westminster  Place,  St.  Louis,  Mo. 


VICE-PRESIDENTS 

2907  Sheridan  Road,  Evanston,  111. 

9 Park  Street,  Boston,  Mass. 

University  of  Minnesota,  Minneapolis,  Minn. 

.........Chapel  Hill,  N.  C. 

Columbia  University,  New  York  City. 

1001  Chestnut  Street,  Philadelphia,  Pa„ 


SECRETARY 

West  One  Hundred  and  Fifty  Street,  Chicago,  III. 

TREASURER 


Chicago  Evening  Post,  Chicago,  111. 


DIRECTORS 


San  Francisco,  Cal. 

2907  Sheridan  Road,  Evanston,  111. 

Boston  University,  Boston,  Mass. 

.-  • • •. 9 Park  Street,  Boston,  Mass. 

University  of  Minnesota,  Minneapolis,  Minn. 

4533  Westminster  Place,  St.  Louis,  Mo. 

601  Grove  Street,  Upper  Montclair,  N.  J. 

University  of  Chicago,  Chicago,  111 

37  East  Sixty-eighth  Street,  New  York  City 

University  of  Washington,  Seattle,  Wash. 

6018  Jackson  Park  Avenue,  Chicago,  111. 

1426  Forest  Avenue,  Evanston,  111. 

Indiana  University,  Bloomington,  Ind. 

Columbia  University,  New  York  City. 

5210  Woodlawn  Avenue,  Chicago,  111. 

7 East  Forty-second  Street,  New  York  City. 

West  One  Hundred  and  Fifth  Street,  Chicago,  111. 

1001  Chestnut  Street,  Philadelphia,  Pa. 

567  West  One  Hundred  and  Thirteenth  Street,  New  York  City. 

Chicago  Evening  Post,  Chicago,  111. 

4103  Pine  Street,  Philadelphia,  Pa. 


COMMITTEES  AND  DEPARTMENTS 

1.  Organization  and  Publicity — Mrs.  A.  Starr  Best,  Chairman. 

Federation — Mrs.  Marshall  Smith,  4103  Pine  Street,  Philadelphia. 

Chautauqua — Mrs.  J.  L.  Sporer,  1435  East  Marquette  Road,  Chicago. 

2.  Play  going — Martyn  Johnson. 

3.  Educational — Barrett  Clark. 

Drama  Study — Mrs.  Harrison  B.  Riley,  Evanston,  111. 

College  Dramatics — Archibald  Henderson. 

High  School — Edward  J.  Eaton,  North  High  School,  Des  Moines,  Iowa. 

Junior — Miss  Kate  Oglebay,  7 Forty-second  Street,  New  York. 

Lecture  Bureau — Mrs.  Alice  Bright  Parker,  6027  Kimbark  Avenue,  Chicago. 

Festival  and  Pageant — Miss  Clara  Fitch,  1428  Judson  Avenue,  Evanston,  III. 

Library — Miss  Alice  S.  Tyler,  Library  School,  W.  R.  U.,  Cleveland,  Ohio. 

Drama  League  Series — Frank  Chouteau  Brown,  9 Park  Street,  Boston. 

4.  Circuit — Miss  Alice  Houston,  Chairman. 

5.  Finance — Mrs.  Arthur  M.  Dodge,  37  East  Sixty-eighth  Street,  New  York. 

6.  The  Drama — Theodore  B.  Hinckley,  6018  Jackson  Park  Avenue,  Chicago. 

SPECIAL  COMMITTEES 
Shakespeare  Tercentenary — Percival  Chubb. 

Reducing  the  Price  of  Seats — Mrs.  John  O’Connor,  5210  Woodlawn  Avenue,  Chicago. 

The  Child  on  the  Stage — Mrs.  James  Harvey  Robinson,  567  West  One  Hundred  and  Thirteenth 
Street,  New  York. 

Conditions  Behind  the  Scenes — Miss  Grace  Griswold,  Three  Arts  Club,  New  York. 


neu 

5tHE  SHAKESPEARE 
TERCENTENARY 


SUGGESTIONS  FOR  SCHOOL  AND 
COLLEGE  CELEBRATIONS  OF 
THE  TERCENTENARY  OF  SHAKE- 
SPEARE’S DEATH  IN  1916 


PREPARED  BY  THE  DRAMA  LEAGUE  OF  AMERICA 

UNDER  THE  EDITORIAL  DIRECTION  OF  PERCIVAL  CHUBB,  President. 


WITH  THE  COLLABORATION  OF 


MISS  MARY  PORTER  BEEGLE,  of  Barnard  College,  New  York 
MISS  MARY  WOOD  HINMAN,  of  the  School  of  Dance,  Chicago 
DR.  WM.  E.  BOHN,  of  the  Ethical  Culture  School,  New  York 


NATIONAL  CAPITAL  PRESS,  INC. 
WASHINGTON,  D.  C. 


CONTENTS 


Page 

Introduction , . . .3 

Part  I.  Suggested  programs  for  schools 5 

Program  A.  Processional  (First,  second,  and  third  grades) 5 

Program  B.  Processional  (Fourth  and  fifth  grades) 6 

Program  C.  Processional  (Sixth,  seventh  and  eighth  grades) 9 

Program  D.  Processional  (For  the  entire  elementary  school) 11 

Program  E.  Suggestions  for  high  schools 12 

Program  F.  Processional  (Elementary  and  high  school) 15 

Bibliography 16 

Models 18 

Part  II.  Suggestions  for  other  forms  of  celebration 25 

A.  A Shakespearean  festival  for  the  upper  grades 25 

B.  Suggestions  for  a masque  or  frolic  of  the  flowers 26 

C.  Outline  for  a normal  school  festival 26 

D.  Outline  for  a festival  founded  on  the  character  of  fools  in  Shake- 

speare’s plays 34 

E.  A Shakespearean  festival 36 

F.  Outline  for  a Shrovetide  festival 37 

G.  The  pageant  wagon 37 

H.  An  inn  yard 38 

I.  Forms  of  student  and  faculty  cooperation  in  the  school  festival 38 

Part  III.  Detailed  outline  of  the  various  factors  in  the  organization  of  the 

school  festival . 41 

Part  IV.  The  treatment  of  Shakespeare’s  plays  for  school  purposes 47 

Part  V.  Bibliographic  aids  in  the  study  and  staging  of  Shakespeare’s  plays . . 53 

Drama  League  of  America 59 


2 


INTRODUCTION 


f*\ 

The  celebration  in  schools  and  colleges  of  the  Tercentenary  of 
Shakespeare’s  death  in  1916  affords  one  of  the  best  possible  opportunities 
to  vitalize  and  coordinate  the  work  done  in  a group  of  interrelated  sub- 
jects. This  is  the  group  involved  in  the  highest  and  most  inclusive  form 
of  art,  the  drama;  and  it  comprises  literature,  music,  art,  the  handicrafts, 
such  as  shopwork  and  sewing,  and  physical  education. 

The  celebrations  of  schools  may  be  of  large  variety ; they  may  range 
from  those  given  by  a single  school  as  a whole,  or  by  a part  of  a 
school,  to  those  given  by  all  the  schools  of  a community  in  concert,  or 
as  forming  part  of  a general  community  celebration.  The  festivals  may 
take  place  either  indoors  or  outdoors;  in  school  assembly  rooms  and 
auditoriums,  in  school  yards,  public  parks  and  gardens,  or  open  field  and 
forest.  Such  school  celebrations  will  bring  the  children  into  line  with 
the  various  forms  of  adult  celebration  planned  on  a large  scale  through- 
out the  country,  and  their  own  juvenile  effort  will  enable  them  to  bring 
a keener  appreciation  to  more  mature  productions. 

Stress  may  be  laid  first  of  all  upon  the  opportunity  for  coordination, 
especially  of  literature,  the  focal  subject,  with  music  and  the  mimetic 
arts  of  dance  and  drama.  A new  emphasis  is  needed  in  literary  work 
upon  the  fact  that  literature  is  primarily  something  to  be  heard;  some- 
thing declaimed  or  sung  or  dramatically  interpreted,  and  not  merely  a 
matter  of  print.  School  music  should  become  more  deliberately  the 
handmaid  of  literature,  and  should  include  very  many  more  of  the  sing- 
able lyrics  memorized  and  studied  in  the  English  classes  than  is  com- 
monly the  case.  Physical  education,  which  everywhere  includes  now  the 
dance  (both  folk-dances  and  interpretative  dances,  or  dance-drama), 
should  have  relation,  through  the  words  of  old  singing-games  and  the 
delightful  old  tunes,  with  literature  and  music;  it  should  be  utilized 
f both  for  school  celebrations  and  for  social  groups  outside  the  school — 
£ in  the  home,  the  club,  and  the  Sunday  school.  The  art  and  the  handi- 
crafts of  the  manual  training  departments  may  well  profit  by  the  impetus 
which  is  gained  by  directing  them  toward  immediately  practical  and 
* enjoyable  uses.  If  school  time  is  begrudged,  the  work  may  be  planned 
at  the  school  for  execution  at  home. 

In  the  case  of  high  schools  and  colleges  it  is  well  to  take  into  con- 
ii-  sideration  the  possibility  of  using  commencements  and  class-days  as 
£ festival  occasions,  and  also  of  utilizing  drama  clubs,  glee  clubs,  mandolin 
F -_j  and  guitar  clubs  and  choruses  in  connection  with  celebrations.  It  will 
readily  be  seen  what  enriching  and  helpful  parts  these  voluntary  organi- 
^ zations  might  play;  or,  in  the  absence  of  any  other  form  of  school  and 
> college  celebration,  how  they  might  of  themselves  supply  the  festival, 

£ pageant,  or  dramatic  entertainment.  As  to  the  music,  there  is  a rich 
^irstore  of  old-time  song,  dance-music,  and  marches  that 'may  be  used — - 

3 


4 


THE  SHAKESPEARE  TERCENTENARY 


rearranged  or  reset — by  school  choruses,  orchestras,  or  mandolin  and 
guitar  clubs.  The  employment  of  the  mandolin  and  guitar,  with  a few 
added  wind  instruments,  should  give  a good  deal  of  the  old  flavor  to  the 
music. 

Merely  as  a matter  of  educational  policy,  there  is  urgent  need  of  the 
influence  which  should  emanate  from  these  festivals.  They  are  needed 
to  give  new  tone  and  quality  to  the  literary,  musical,  dramatic, 
and  recreational  interests  of  young  people — and,  indeed,  of  the  public 
generally.  It  is  with  the  hope  that  something  like  a renascence  of  inter- 
est in  Shakespeare  and  in  the  drama  with  its  associated  arts  may  be 
furthered  that  this  book  is  issued.  It  is  intended  to  be  suggestive  rather 
than  definitely  prescriptive.  The  more  its  suggestions  are  modified  to 
enlist  the  creative  and  inventive  capacities  of  children  and  teachers,  the 
better.  To  these  suggestions  may  be  added  that  of  writing  short  plays 
or  scenarios,  and  presenting  on  the  stage  selected  scenes  from  the  plays. 
There  might  be  inter-class  and  inter-school  rivalries,  as  in  debating  con- 
tests. One  more  possibility  may  be  mentioned,  that  of  making  school 
garden-plots  or  window-boxes  in  which  the  flowers  named  by  Shake- 
speare are  grown,  and  planting  memorial  trees  in  the  school  yard  or 
other  public  place,  with  some  simple  ritual  of  procession,  song,  and 
recital. 


PART  I‘ 

SUGGESTED  PROGRAMS  FOR  SCHOOLS 

{First,  Second  and  Third  Grades ) 

PROGRAM  A 

The  following  is  a simple  program  for  a procession  and  pageant  which  it  is  pos- 
sible to  give  either  out  of  doors,  on  a stage,  or  even  on  floor  space. 

PROCESSIONAL 

The  first  grade  march  in  twos,  each  child  carrying  a flower.  Boys  wear  smock 
(Model  A),  girls  wear  cap  (Model  B). 

The  first  grade  is  followed  by  a third-grade  boy  representing  Shakespeare 
(Model  C),  or  a third-grade  girl  representing  Queen  Elizabeth  (Model  D).  Follow- 
ing come  a character  or  two  from  Shakespeare  and  a group  of  fairies  from  Mid- 
summer Night’s  Dream  (Model  F).  These  are  followed  by  the  second-grade  children 
(Models  A and  B),  who  take  part  in  songs  or  games.  The  procession  closes  with 
the  third-grade  children  who  also  take  part  in  the  songs  and  dances. 

Suggestions  for  Processional 

Form  the  processional  off  stage  if  possible,  in  a room  sufficiently  large  for  the 
entire  procession  to  line  up. 

At  the  signal  for  the  program  to  open,  have  the  procession  enter  at  the  rear  of 
the  audience  and  proceed  toward  the  stage,  using  the  extreme  left  aisle,  cross  before 
the  stage,  and  pass  down  to  the  rear  of  the  audience  to  the  extreme  right  aisle. 
At  the  rear  of  the  audience  cross  to  the  center  aisle  and  advance  down  this  aisle 
and  mount  the  stage.  Cross  and  recross  the  stage  in  a simple  march  once  or  twice 
before  grouping  for  the  songs. 

Use  a simplified  line  of  march  if  necessary. 

Let  the  music  for  this  processional  be  music  the  children  can  sing  (writing 
their  own  words  if  possible  and  having  them  set  to  a good  rhythmic  melody).  Use 
Looby  Loo  (I)  or  A Hunting  We  Will  Go  (K)  or  the  Victor  record,  Tideswell  Pro- 
cessional. 

SONGS 

Merrily  We  Dance  (2) 

(To  be  sung  by  first  grade) 

Summer  Day  (2) 

(To  be  sung  by  second  grade) 

Spring  Song  (2) 

(To  be  sung  by  third  grade) 

Mistress  Mary  (3) 

(To  be  sung  by  first  grade) 

Whittington  Forever  (3) 

(To  be  sung  by  third  grade) 

Suggestions  for  Songs 

Distinct  utterance  of  the  words  of  the  songs  is  imperative;  otherwise  the  song 
or  the  singing-game  is  meaningless;  for  clear  enunciation  is  the  basis  of  all  good 
singing.  The  piano  should  be  used  sparingly. 

Before  giving  the  program,  have  the  children  rehearse  their  songs  and  games 
on  the  actual  spot  where  the  entertainment  is  to  take  place.  This  should  be  done 
two  or  three  times  before  the  general  rehearsal,  if  possible. 

If  the  songs  mentioned  are  not  available,  songs  of  the  open  air  about  spring 
and  summer,  flowers  and  birds,  should  be  selected;  or  songs  definitely  connected 
with  Shakespeare  or  the  period  in  which  he  lived.  The  simplest  songs  from  the 
Shakespeare  plays  should  be  chosen,  or  the  words  may  be  written  by  the  children 
and  put  to  old  tunes,  or,  if  unavoidable,  the  words  may  be  written  by  the  teachers. 


1 The  reference  letters  and  figures  in  parentheses  point  to  the  Special  Bibliography  and  List  of 
Costume  Models  at  the  end  of  the  pection;  dances  and  singing  games,  p 16-17;  music  for  marches  and 
songs,  17-18;  models,  18-22. 


THE  SHAKESPEARE  TERCENTENARY 


PRESENTATION  OF  SHAKESPEAREAN  CHARACTERS — PANTOMIME 
( Fairies , Rosalind,  Orlando , Shakespeare , Queen  Elizabeth,  etc.) 

Through  simple  stories  the  children  should  be  told  enough  to  give  significance 
to  these  personages.  The  children  of  the  third  grade  may  write  simplified  stories 
from  Shakespeare,  or  use  the  simplified  scenes  suggested  by  Miss  Beegle  in  Part  II. 

SINGING-GAMES 

Round  and  Round  the  Village  (I) 

(All  three  grades) 

Gathering  Nuts  in  May  (K) 

(Second  grade) 

Looby  Loo  (I) 

(All  three  grades) 

The  Farmer  in  the  Dell  (I) 

(First  grade) 

Here  We  Go  up  the  Green  Grass  (I) 

(Second  and  third  grades) 

O'er  the  High  Hill  (I) 

(Third  grade) 

Oats  and  Beans  and  Barley  Grow  (K) 

(All  three  grades) 

Suggestions  for  Singing-games 

Have  the  children  play  these  singing-games  in  their  playground  and  in  the 
schoolroom,  and  if  possible  at  their  own  parties  during  the  school  year.  The 
dances  when  given  on  the  program  should  have  the  joy  of  genuine  play. 

CHORUS 

Happy  Summer  (2) 

(Everyone) 

Dancing  Song  (4) 

(Everyone) 

The  Field  Daisy  (4) 

(Everyone) 

The  Fairy  (4) 

(Everyone) 

Blue  Bell  and  the  Flowers  (4) 

(Everyone) 

DANCES 

To  be  danced  by  little  girls  from  the  third  grade  in  groups  of  four;  can  be 
used  by  the  fairies  of  the  Midsummer  Night's  Dream.  (For  costumes  see  Model  F.) 
For  music  and  description,  see  Fairies’  Revel  (J). 

RECESSIONAL 

Led  by  Shakespeare  or  Queen  Elizabeth,  followed  by  those  taking  part  as 
characters,  then  the  fairies,  followed  by  the  first,  second,  and  third-grade  children 
in  twos.  March  down  the  center  aisle  and  out.  For  music  use  suggestions  under 
“Music  for  Marches  and  Songs”  (1). 

PROGRAM  B 

{Fourth  and  fifth  grades) 

PROCESSIONAL 

The  procession  is  led  by  a small  group  of  boys  carrying  trumpets  from  which 
are  suspended  long  banners  (Model  H).  The  boys  are  dressed  in  doublet  and  hose 
and  wear  small  caps  (Models  I and  J). 


THE  SHAKESPEARE  TERCENTENARY 


7 


The  trumpeters  are  followed  by  the  group  of  children  taking  part  in  the  dances 
(Models  A and  B).  Following  come  the  Shakespearean  characters  (Models  C and 
D),  who  in  turn  are  followed  by  Jack-in-the-Green  (Model  K),the  Stilt-Man  (Model  L), 
the  Hobby-Horse  (Model  M):  then  come  the  maids-in-waiting,  carrying  baskets  of 
flowers.  These  precede  the  May  Queen  (Model  P).  After  the  Queen  come  the 
little  fairies  (Model  F),  and  the  procession  closes  with  the  children  from  both  grades 
who  take  part  in  the  big  choruses  (Models  A and  B). 


Suggestions  for  Processional 

Read  “Suggestions  for  Processional,”  Program  A.  Then  use  the  line  of  march 
there  suggested,  or  the  following: 

The  procession  enters  at  the  rear  of  the  audience  and  proceeds  toward  the 
stage  using  the  extreme  left  aisle,  crosses  in  front  of  the  stage,  and,  using  the  center 
aisle,  passes  to  the  rear  of  the  auditorium.  It  crosses  at  the  rear  of  the  audience 
to  the  extreme  right  and  advances  and  mounts  the  stage,  using  the  extreme  right 
aisle.  It  crosses  and  recrosses  the  stage  before  falling  into  groups. 

Use  any  selection  from  the  music  suggested  under  “Music  for  Marches  and 
Songs”  (1);  or  select  the  tunes,  keeping  in  mind  the  quality  of  bright  open-air  tunes. 

Have  the  children  sing  in  both  their  processional  and  their  recessional.  Set 
to  familiar  melodies  some  of  the  quotations  given  below  under  “Suggestions  for 
Shakespearean  Characters”  or,  better  still,  have  the  children  write  their  own  words. 

SONGS 

The  Violet  (5) 

(Fourth  grade,  first  verse  only) 

Who  Has  the  Whitest  Lambkins?  (5) 

(Fourth  grade) 

Once  a Little  Sparrow  (6) 

(Fifth  grade) 

Merrow  Down  (7) 

(Fourth  and  fifth  grades) 


Suggestions  for  Songs 
See  “Suggestions  for  Songs,”  Program  A. 

Use  out-of-door  songs  with  group  spirit  and  words  full  of  sunshine  and  dancing. 
Have  children  write  their  own  words  if  possible  or  set  one  or  two  of  the  quotations 
to  music  given  below  from  “Suggestions  for  Shakespearean  Characters.” 


PRESENTATION  OF  SHAKESPEAREAN  CHARACTERS 

Queen  Elizabeth  comes  forth  to  gfeet  the  May.  The  crowning  of  the  May 
Queen.  The  fairies  come  forth  and  dance  before  her  throne;  different  poems  of 
spring  are  recited  and  sung.  Each  event  is  announced  by  the  trumpeter.  The 
children  may  write  their  own  poems  if  possible. 


The  following  lines  may  either  be  set  to  some  familiar  rhythmic  melody  or  recited 
by  different  members  of  the  group: 

Hark!  Hark!  I hear  the  dancing 
And  a nimble  Morris  prancing — - 
The  Bag-pipe  and  the  Morris  bells. 

(Old  Madrigal.) 

The  following  could  be  used  for  a song: 

Now  every  lad  is  wondrous  trim  and  no  man  minds  his  labor; 

Our  lasses  have  provided  them  a bagpipe  and  a tabor; 

And  Jack  shall  pipe  and  Jill  shall  dance 
And  all  the  town  be  merry! 


(Old  English.) 


H 


THE  SHAKESPEARE  TERCENTENARY 


These  lines  could  be  used  for  a song: 

Ye  that  pipe  and  ye  that  play 
Ye  that  through  your  hearts  today 
Feel  the  gladness  of  the  May. 

For  blythe  and  cheery  be  we  a’ 

As  long  as  we  have  breath  to  draw, 

And  dance  till  we  be  like  to  fa’ 

The  reel  of  Tullochgo-rum. 

We  have  measured  many  a mile 
To  tread  a measure  with  you  on  the  grass. 

(vShakespeare.) 

Who  shall  be  Queen  of  the  May? 

’Not  the  prettiest,  nor  the  wittiest, 

Nor  she  with  the  gown  most  gay; 

But  she  who  is  pleasantest  all  the  day  through. 

With  the  pleasantest  things  to  say  and  do, 

She  shall  be  Queen  of  the  May. 

For  the  good  are  always  merry, 

Save  by  an  evil  chance 
And  the  merry  love  to  fiddle 
And  the  merry  love  to  dance. 

(Yeats.) 

Come  lassies  and  lads,  take  leave  of  your  dads, 
And  away  to  the  maypole  high.  . . . 

(1671) 

Song 

When  I play  on  my  fiddle  in  Dooney 
Folks  dance  like  a wave  of  the  sea. 

(Yeats.) 


Shake  off  your  heavy  trance 

And  leap  into  a dance 

Such  as  no  mortals  used  to  tread; 

Fit  only  for  Apollo 

To  play  to,  for  the  moon  to  lead 

And  all  the  stars  to  follow. 

(Francis  Beaumont.) 

The  waves  beside  them  danced,  but  they 
Outdid  the  sparkling  waves  in  glee. 

(Wordsworth.) 

Green  sleeves  and  yellow  sleeves; 

The  girls  and  boys  they  dance  a pace, 

To  earn  some  money  to  buy  some  lace, 

To  lace  my  lady’s  green  sleeves. 

SINGING-GAMES 

A -Hunting  We  Will  Go  (K) 

(Every  one) 

Roman  Soldiers  (K) 

(Every  one)  • 

Green  Sleeves  (I) 

(Every  one) 

(For  further  details  see  ‘Suggestions  for  Singing- Games,”  Section  II.) 
Suggestions  for  Singing  Games 

It  will  add  quite  a little  to  the  confidence  of  the  fourth-grade  children  if  the  sug- 
gestion is  made  that  they  teach  the  third  grade  A-Hunting  We  Will  Go.  At  the  per- 
formance the  fifth  grade  might  also  invite  the  fourth  grade  into  a game  as  guests. 
Use  social  groupings  of  this  kind  as  much  as  possible,  and  combine  the  two,  grades 
whenever  opportunity  offers. 


THE  SHAKESPEARE  TERCENTENARY 


9 


CHORUSES 

The  Old  Woman  and  the  Pedlar  (14) 

(Fifth  grade  sing  verses,  fourth  grade  join  in  chorus.) 

The  Three  Huntsmen  (14) 

(Boys  alone) 

The  Merry  Hay-Maker  ( 14) 

(Every  one) 

Suggestions  for  Choruses 

Use  these  choruses  through  the  entire  term,  bringing  them  in  with  the  other 
songs;  and  remember  that  the  clear  pronunciation  of  the  words  is  most  important. 
(See  “Suggestions  for  Songs,"  Program  A.)  During  the  period  set  aside  for  singing 
have  one-half  of  the  room  sing  the  first  verse,  and  the  other  side  the  second.  Pupils 
on  the  side  that  is  not  singing  should  listen  carefully  and  make  sure  they  can  under- 
stand every  word.  Then  all  sing  through  once.  Another  way  is  to  number  the 
children,  and  let  the  even  numbers  sing  The  Old  Woman  and  the  Pedlar , and  allow  the 
odd  numbers  to  sing  The  Three  Huntsmen.  Then  have  everyone  sing  The 
Merry  Haymaker.  Or,  have  the  boys  sing  The  Three  Huntsmen , and  the  girls  sing 
The  Old  Woman  and  the  Pedlar,  and  all  sing  The  Merry  Haymaker. 

DANCES 

Bacca  Pipes  (G) 

(Fifth-grade  boys) 

Sweet  Kate  (C) 

(Every  one) 

Suggestions  for  Dances 

Bacca  Pipes  is  a traditional  morris  jig.  Every  boy  loves  it  at  once.  It  is 
strictly  a boy’s  dance.  Girls  and  women  have  never  taken  part  in  it.  Make  a cross 
on  the  floor  with  chalk  about  two  feet  wide  and  number  the  ends  of  the  “pipes” 
(cross),  and  also  place  A B C D in  the  spaces  left  between  the  pipes. 

At  the  actual  entertainment  have  sticks  cut  out  of  wood  in  the  shape  of  clay 
pipes,  whitewash  these,  and  place  them  crossed  on  the  floor. 

If  by  chance  the  dancer  touches  the  pipes,  he  forfeits  a shilling  to  the  fiddler! 
(See  full  description,  G.) 

RECESSIONAL 

The  Hobby-Horse  and  Jack-in- the-Green  lead  off,  followed  by  Queen  Elizabeth 
and  the  Shakespearean  characters;  then  the  May  Queen  and  the  maids-in-waiting, 
the  fairies,  and  all  the  other  dancers  and  singers,  closing  with  the  trumpeters.  The 
line  of  march  is  down  the  center  aisle  and  out.  For  suggestions  for  music,  see 
“Music  for  Marches  and  Songs”  (1). 

PROGRAM  C 

{Sixth,  seventh  and  eighth  grades) 

PROCESSIONAL 

The  procession  is  led  by  a group  of  trumpeters  made  up  of  boys  from  the  sixth, 
seventh,  and  eighth  grades.  These  trumpeters  are  dressed  in  doublet  and  hose 
(Model  J),  wearing  a cap  (Model  I),  and  carrying  trumpets  (Model  H). 

The  trumpeters  are  followed  by  a group  of  banner-bearers,  dressed  in  the  same 
costume  as  the  trumpeters,  but  carrying  banners  instead  of  trumpets  (Model  N). 
The  banner-bearers  are  followed  by  girls  carrying  garlands  (Model  F);  and  the 
Shakespearean  characters  immediately  follow  them.  The  Hobby-Horse  (Model  M), 
Jack-in- the-Green  (Model  K),  the  Stilt-Man  (Model  L),  and  the  Jester  (Model  O) 
come  next,  and  the  procession  closes  with  the  children  from  the  different  grades  who 
take  part  in  the  songs  and  dances  (Girls,  Model  Q;  Boys,  Model  R). 

SONGS 

The  Red  Herring  (10) 

(Sixth  grade) 

The  Keeper  (11) 

(Sung  as  a duet  by  seventh 
and  eighth  grades) 


10 


THE  SHAKESPEARE  TERCENTENARY 


Brennan  on  the  Moor  (9) 

(Seventh  grade) 

Midsummer  Fair  (8) 

(Eighth  grade) 

Spanish  Ladies  (12) 

(Every  one) 

PRESENTATION  OF  SHAKESPEAREAN  CHARACTERS 

The  girls  who  carry  the  garlands  in  the  processional  dance  the  spring  dance 
called  Helen.  Order  for  music  and  description  Helen  (G).  If  possible,  have  the 
young  people  write  the  play  that  takes  place  during  this  episode.  It  may  be  a sim- 
plified version  of  one  of  the  Shakespeare  plays. 

GROUP  DANCES 

Row  Well  Ye  Mariners  (C) 

(Seventh  grade) 

Butterfly  (C)-(B) 

(Every  one) 

We  Won’t  Be  Home  Until  Morning  (C) 

(Sixth  grade) 

Jamaica  (C)  (B) 

(Eighth  grade) 

Boscastle  (I) 

(Every  one) 

Suggestions  for  Group  Dances 

Have  the  children  dance  these  selections  often,  beginning  as  early  as  possible. 
Let  them  teach  the  dances  to  the  different  divisions  of  the  room.  For  instance, 
the  teacher  will  show  group  A,  consisting  of  two  boys  and  two  girls,  and  this  group 
may  select  the  people  to  whom  they  will  teach  it,  and  so  on  until  the  entire  room 
can  dance  the  dance  with  spirit.  Then,  if  possible,  teach  it  to  the  next  grade. 
This  will  take  a very  short  time  at  any  one  period  and  will  gain  for  the  dances  the 
invaluable  spirit  of  play. 

CHORUSES 

Tree  in  the  Wood  (9) 

(Every  one) 

Sheep-shearing  (9) 

(Every  one.  Can  be  obtained  as  part  song 
for  mixed  voices,  price  12  cents.) 

The  Jolly  Plow  Boy  (13) 

(All  boys.  Can  be  obtained  as  part  song 
for  male  voices,  price  8 cents.) 

Suggestions  for  Choruses 

In  singing  The  Tree  in  the  Wood,  divide  the  children  into  groups  and  let  each 
group  sing  a verse  until  the  last  verse,  where  every  one  joins  in.  It  is  really  diffi- 
cult to  do  this,  as  the  song  grows  with  each  verse,  and  the  young  people  dearly 
love  the  game  of  it.  Sheep- shearing  is  an  excellent  song  to  be  sung  in  connection  with 
the  Winter’s  Tale,  and,  as  stated  in  the  program,  it  can  be  obtained  as  a part  song 
for  mixed  voices.  The  Jolly  Plow  Boy  should  be  used  for  the  boys  alone  and  can 
be  secured  as  a part  song  for  male  voices. 

DANCES 

Black  Nag  (C) 

(Every  one  in  groups  of  three  couples) 

How  Do  You  Do,  Sirl  (I) 

(Boys  of  the  sixth  grade) 

Goddesses  (C)  (B) 

(Eighth  grade) 


THE  SHAKESPEARE  TERCENTENARY 


11 


Ruffty  Tuffty  (C)  (A  No.  S 3092) 

(Every  one) 

Merry  Conceit  (C) 

(Seventh  grade) 

Butterfly  (C)  (B) 

(Every  one) 

Suggestions  for  Dances 

Black  Nag  can  be  danced  by  every  one  in  the  three  upper  grades  by  dividing 
pupils  into  groups  of  three  couples  each.  Black  Nag,  Ruffty  Tuffty , and  Butterfly 
are  the  simplest  dances  on  the  suggested  program;  therefore  it  would  be  wise  to* 
teach  them  first.  The  boys  will  love  the  How  Do  You  Do,  Sir!  if  it  is  confined  to  the 
sixth  grade,  and  they  can  put  great  humor  into  it.  Merry  Conceit  is  always  amusing,, 
especially  if  one  brings  out  the  pantomime  called  for  when  the  girl  leads  off  and  nods, 
to  the  boy  to  follow  her. 

Goddesses  should  be  danced  with  great  spirit  and  yet  with  no  lack  of  dignity. 
The  skipping  becomes  quite  fast,  and  after  the  young  people  can  change  from  one 
figure  into  another  without  hesitation,  it  is  very  beautiful. 

It  will  add  greatly  to  the  enjoyment  of  both  the  pupils  and  their  guests  if,  at 
the  close  of  the  dances  in  this  group,  a team  of  eight  boys  from  the  eighth  grade  do 
the  Flamborough  Sword-Dance  (M).  A full  description  of  the  dance  and  the  music  is. 
given  in  this  reference.  The  sword  used  is  described  in  the  book  mentioned.  It  is. 
made  of  larch  or  ash,  37  inches  long,  \Yi  inches  wide,  shaped  at  one  end  into  a slight, 
handle  with  the  tapering  point  at  the  other. 

Care  should  be  taken  in  choosing  a swordmaster.  He  is  responsible  for  the 
swords  and  the  sequence  of  the  figures.  He  calls  out  the  figures,  and,  after  the  boys 
have  been  taken  through  the  dance  once,  he  does  most  of  the  training.  If  he  proves 
incompetent,  the  boys  themselves  should  be  allowed  to  elect  a new  swordmaster. 

The  dances  are  a bit  deceptive.  The  boys  learn  the  actual  figures  rather 
quickly  and  feel  quite  proud  of  themselves,  but  the  dance  is  uninteresting  and  loses 
its  ritual  character  unless  the  swordmen  have  patience  to  perfect  it.  It  should  be 
danced  without  a hitch,  quite  fast,  the  figures  flowing  from  one  to  another  with) 
apparently  no  hesitation.  This  takes  a surprising  amount  of  hard  practice. 

The  Sword-Dance  belongs  properly  in  a high-school  celebration,  for  it  is  primarily 
a dance  for  men  or  grown-up  boys. 


RECESSIONAL 

Have  Shakespearean  characters  lead,  followed  by  Jack-in-the-Green,  the  Stilt- 
Man,  the  Hobby-Horse,  and  the  Jester.  These  are  followed  by  all  the  young  people 
taking  part  in  the  dances  and  songs.  The  recessional  closes  with  the  banner-bearers 
and  the  trumpeters,  who  have  been  standing  at  the  side  of  the  dancing  space 
as  the  recessional  files  out.  They  fall  in  line,  the  banner-bearers  first  and  the  trum- 
peters at  the  very  end. 


PROGRAM  D 

{For  the  entire  elementary  school) 

PROCESSIONAL 

A group  of  trumpeters  (Model  H)  from  the  upper  grades  lead,  followed  by  the 
little  children  from  the  first,  second  and  third  grades  (Models  A and  B).  These' 
children  are  followed  by  the  fairies  from  the  third  grade,  who  in  turn  are  followed1 
by  the  larger  fairies  from  the  upper  grades  (Model  F).  The  Hobby-Horse,  Stilt- 
Man,  Jack-in-the-Green  (Models  M,  L and  K),  and  the  little  and  big  Jester  (Model 
O)  immediately  precede  the  Shakespearean  characters  from  all  the  grades.  Follow- 
ing these  come  the  banner-bearers  from  the  eighth  grade  (Models  J,  I and  N),  and 
the  procession  closes  with  all  the  children  who  take  part  in  the  songs  and  dances 
(Models  R,  Q,  A,  B,  I and  J). 

For  details  as  to  materials  to  be  used  see  the  preceding  programs. 

SONGS 

Select  the  songs  the  children  like  to  sing,  and  have  each  grade  sing  at  least  once. 
Use  combinations  of  grades  to  sing  together  whenever  possible.  Keep  the  tempo 
brisk  in  these  songs,  and  be  sure  the  children  have  sung  them  often  enough  really  to 
love  them.  Watch  the  pronunciation  and  the  rhythm. 


12 


THE  SHAKESPEARE  TERCENTENARY 


PRESENTATION  OF  SHAKESPEAREAN  CHARACTERS 

Use  very  simple  and  short  scenes  about  or  from  Shakespeare,  arranged  by  the 
children  as  far  as  possible.  Have  the  first,  second  and  third  grades  recite  one  or 
two  appropriate  verses.  The  sixth,  seventh,  and  eighth  grades  might  make  a sim- 
plified scenario  from  one  of  Shakespeare’s  plays,  and  present  it. 

GROUP  DANCES 

Select  a good  singing-game  from  the  list  for  Program  A,  and  one  of  the  simplest 
singing-games  from  Program  B;  also  one  of  the  dances  from  Program  B.  Have  the 
fourth  and  fifth  grades  teach  one  of  the  simpler  group  dances  to  one  of  the  lower 
grades,  and  invite  them  to  dance  it  with  them  at  the  performance.  Have  the  seventh 
and  eighth  grades  do  the  same  thing.  Select  two  good  group  dances  from  the  list 
for  Program  C.  Also  use  one  of  the  dances  for  boys  alone.  Let  the  little  fairies 
from  the  third  grade  do  their  dance,  and  the  girls  from  the  sixth,  seventh,  and  eighth 
grades  dance  Helen. 


CHORUS 

Use  one  of  the  choruses  suggested.  Let  the  children  select  it  if  possible;  or 
better  still,  take  the  words  given  in  “Suggestions  for  Shakespearean  Characters”  for 
Program  B,  and  put  them  to  a rhythmic  melody.  If  possible,  let  the  boys  sing  one 
chorus  alone. 


RECESSIONAL 

Have  Shakespearean  characters  lead  off  stage,  followed  by  the  banner-bearers. 
The  fairies  from  all  the  grades  follow.  Then  come  the  children  from  the  first,  second, 
and  third  grades,  followed  by  the  Hobby-Horse,  the  Stilt-Man,  the  two  Jesters,  and 
Jack-in- the- Green.  Children  from  the  fourth  and  fifth  grades  taking  part  in  the 
dances  or  songs  are  followed  by  the  children  of  the  fifth,  seventh  and  eighth  grades. 
The  recessional  closes  with  the  trumpeters. 

For  particulars  as  to  models  for  costumes  and  as  to  properties,  consult  the  pre- 
ceding programs. 

PROGRAM  E 

Suggestions  for  High  Schools 

The  situation  is  the  high  school  differs  from  that  in  the  elementary  school  by 
reason  of  the  fact  that  the  plays  of  Shakespeare,  which  are  likely  to  furnish  the 
chief  material  of  a festival  in  most  cases,  are  studied  throughout  the  course;  so  that 
from  four  to  eight  plays  fairly  familiar  to  the  senior  pupils  will  be  available  for  use 
as  the  staple  material. 

It  will  first  be  decided  whether  the  celebration  is  to  be  outdoors  or  indoors. 
If  outdoors,  the  selection  will  be  made  from  “Midsummer  Night’s  Dream,”  “As 
You  Like  It,”  and  the  second  part  of  “Winter’s  Tale.”  For  indoors  any  plays  may 
serve.  In  any  case  it  will  be  well  to  add  or  introduce  some  festal  characteristics, 
or  to  make  a festival  framework  for  any  play  produced.  These  may  be  a procession, 
special  music,  interludes  of  Shakespearean  song  sung  by  all  the  pupils  of  the  school, 
and  the  costuming  of  those  pupils  who  sit  in  the  front  rows  of  the  audience — to  give 
picturesqueness  and  color  to  the  occasion. 

Instead  of  a single  play  by  one  class,  there  may  be  selected  scenes  or  episodes 
from  several  plays  by  students  of  each  year.  These  may  be  knit  together  on  the 
basis  of  some  unifying  conception.  Suggestions  will  be  found  in  the  special  programs 
outlined  in  Part  II  of  this  Bulletin. 

Where  these  additions  of  a festival  character  are  introduced  it  will  be  desirable 
to  abbreviate  the  play.  Indeed,  it  is  quite  commonly  desirable  at  any  ordinary 
school  presentation.  For  this  reason  a section  of  this  Bulletin  (Part  IV)  is  devoted 
to  the  handling  of  the  plays  in  abbreviated  form.  There  is  another  reason  for  press- 
ing this  practice  upon  high  schools;  and  that  is,  the  importance  of  not  attempting 
too  much  in  connection  with  high  school  dramatics.  To  present  a play  that  is  too 
long — and  an  hour  and  a half  is  about  the  limit — means  overtaxing  the  sources  and 
energies  of  teachers  and  pupils  alike. 

Whatever  the  form  of  celebration,  a plea  is  made  here  for  the  extensive  use  of 
dance  and  song  (the  reasons  need  not  be  enumerated) ; and  a special  plea  for  the  type 
of  Old  English  May  Day  Festival.  It  is  in  this  way  that  the  folk-spirit,  school- 
spirit  and  community-spirit  may  best  be  introduced. 

Other  types  of  high  school  celebration  will  include  the  original  play,  or  pageant. 
Examples  of  these  are  given  in  Part  II;  some  in  mere  outline  form  to  be  developed 
sby  pupils  and  teachers. 


THE  SHAKESPEARE  TERCENTENARY 


13 


PROCESSIONAL 

No  such  prescriptions  as  those  given  in  the  foregoing  programs  are  needed  for 
high  school  students.  They  may  devise  their  own  according  to  the  plays,  scenes, 
or  ceremonials  selected.  The  hints  given  in  the  preceding  and  in  the  following 
programs  (F)  will  suffice  as  a starting  point. 

MAY-POLE  DANCES 

After  the  raising  of  the  May  Pole,  have  the  young  people  dance  around  the  Pole, 
using  Sellinger's  Round  (C)  (A).  Use  this  dance  straight  through  twice.  If  space 
is  limited  and  the  group  large,  make  two  or  even  three  circles  around  the  Pole,  one 
inside  the  other.  Be  sure  to  keep  the  young  people  in  couples.  Break  up  into 
groups  of  four  couples,  and  have  one  group  dance  Oranges  and  Lemons  (C)  around 
the  Pole,  while  the  others  watch.  At  the  close  of  this  dance  have  another  group  of 
four  couples  go  forward  and  dance  A Fine  Companion  (C)  around  the  Pole.  Now  all 
the  young  people  form  in  groups  of  five  couples,  and  one  group  forms  a circle  around 
the  Pole.  They  all  dance  Peascods  (C). 

DANCES  ON  THE  GREEN 

At  the  close  of  this  dance  they  drop  into  three  groups,  and  sing  the  part  song 
(in  three  parts)  called  My  Man  John  (12).  This  is  followed  by  a part  song  for  two 
groups  called  Oh,  No!  John  (9),  the  girls  taking  one  part  and  the  boys  the  other. 
Every  one  joins  in  and  sings  A Brisk  Young  Widow  (12),  or  Dashing  Away  With  a 
Smoothing  Iron  (10).  This  is  followed  by  dances  upon  the  green:  Hey,  Boys,  Up 
Go  We  (C),  danced  in  groups  of  two  tuples,  a sufficient  number  to  fill  the  dancing 
space  comfortably:  Confess  (C),  danced  in  groups  of  two  boys  and  four  girls.  Each 
group  should  be  allowed  plenty  of  r om;  the  dance  is  very  pretty  to  watch  if  the 
dancers  are  not  ciamped.  Use  None  Such  (C),  to  be  danced  in  groups  of  four  couples. 
This  should  be  followed  by  a scene  from  Shakespeare  or  a mumming  play,  and  this 
in  turn  may  be  followed  by  the  compoCitive  dances  by  the  boys,  in  morris-dancing 
and  sword-dancing. 

COMPETITWE  DANCES 

Open  the  competitive  dances  by  having  two  boys  from  the  sophomore  year,  two 
boys  from  the  freshman  year,  two  boys  from  the  senior  year,  and  two  boys  from  the 
junior  year  do  Bacca  Pipes  (see  Program  B). 

Award  the  winner  a white  wooden  pipe,  with  the  date  “1616 — 1916,  won  in 
competition  by  class.  ...”  Have  one  of  the  Shakespearean  characters  present 
the  pipe. 

A team  from  the  junior  year  and  a team  from  the  senior  year  compete  by  dancing 
Shepherds ’ Hey  (I).  The  winning  team  is  awarded  a baldric  by  one  of  the  Shakes- 
pearian characters  (See  Suggestions  for  boys  taking  part  in  High  School  Program.”) 

A team  from  the  freshmen  year  and  a team  from  the  sophomore  year  compete  by 
dancing  Bean  Setting  (I).  The  winning  team  is  awarded  a morris  stick  by  one  of 
the  Shakespearean  characters.  (See  “ Suggestions  for  boys  taking  part  in  High  School 
Program.”) 

Have  a team  from  the  sophomore  year  step  forward  and  challenge  a team  from 
the  senior  year  to  a sword-dance.  Elect  or  choose  their  judges  from  girls  of  the  junior 
and  freshman  classes.  Each  team  should  then  do  the  Flamborough  Sword-Dance  (M) . 
Have  the  judges  award  the  winning  team  a wooden  Flamborough  Sword,  engraved 
with  the  date  “1616 — 1916,  Flamborough  Sword-Dance  in  competition  with  class.  ...” 
(See  “Suggestions  for  boys  taking  part  in  High  School  Program.”) 

After  the  awarding  of  the  competitive  prizes  all  join  in  dancing  Butterfly,  followed 
by  Three  Meet  (C)  (B). 

RECESSIONAL 

Have  the  young  people  skip  into  formation  for  their  recessional,  using  a repetition 
of  the  music  played  for  Three  Meet.  Have  the  dancers  lead  off,  followed  by  the 
different  competing  teams,  and  these  in  turn  followed  by  the  Jester,  the  Hobby-Horse, 
the  Stilt-Man,  etc.;  and  the  recessional  closes  with  the  Shakespearean  characters. 

Spirit  of  the  Country  Dance . 

The  following  quotations  give  the  spirit  of  the  country  dance:  “The  country 
dance  is  reposeful ; it  is  easily  learned  and  physically  far  less  exacting  than  the  morris. 
It  is  primarily  a social  recreational  diversion  in  which  both  sexes  take  part.  A 
homely,  intimate,  and,  above  all,  a mannerly  dance.” 

The  boys  approach  the  girls  with  this  old-fashioned  invitation:  “Ladies,  will 


14 


THE  SHAKESPEARE  TERCENTENARY 


you  be  pleased  to  dance  a country  dance  or  two?  For  it  is  that  which  makes  you 
truly  sociable  and  us  truly  happy — like  the  chorus  of  a song  where  all  parts  sing 
together.” 

“Vigor  under  complete  control  is  the  dominant  note  of  the  morris  dance.” 
“Although  characterized  by  a forcefulness,  a strength  and  even  a certain  aban- 
donment, it  is  at  the  same  time  and  always  an  exposition  of  high  spirits  under  perfect 
•control.” 

“When  he  is  dancing,  the  true  morris  man  is  serious  of  countenance  yet  gay  of 
heart,  vigorous  yet  restrained.  A strong  man  rejoicing  in  his  strength,  yet  graceful, 
•controlled,  and  perfectly  dignified  withal.” 

“The  morris  is  not  primarily  a pleasure  dance.  Its  function  is  to  provide  a 
spectacle  or  pageant  as  part  of  the  ritual  associated  with  the  celebration  of  popular 
festivals  and  holidays.” 

TO  BE  DANCED  AFTER  THE  RAISING  OF  THE  MAY  POLE 

Sellingers  Round  (C)  (A) 

(One  big  circle  around  the  pole  and  to  be  danced  through  twice) 

Oranges  and  Lemons  (C) 

(To  be  danced  around  the  pole  by  four  young  men  and  four  young  women) 
A Fine  Companion  (C) 

(To  be  danced  around  the  pole  by  four  young  men  and  four  young  women) 
Peascods  (C) 

(To  be  danced  by  all  the  young  people  in  groups  of  five  couple.  The  center 
group  dances  around  the  May  Pole) 

SONGS 

My  Man  John  (12) 

(A  part-song  sung  by  three  groups) 

Oh,  No!  John  (9) 

(A  part-song  sung  by  two  groups) 

A Brisk  Young  Widow  (12) 

(Sung  by  every  one) 

Dashing  away  with  a Smoothing  Iron  (10) 

(Sung  by  every  one) 

DANCES  TO  BE  DANCED  ON  THE  GREEN 

Hey,  Boys,  Up  Go  We  (C) 

(Danced  in  groups  of  two  couples) 

Confess  (C) 

(Danced  in  groups  of  two  boys  and  four  girls) 

None  Such  (C) 

(Danced  in  groups  of  four  couples) 


COMPETITIVE  DANCES 

Flamborough  Sword  Dance  (M) 

(Team  of  eight  boys) 

Bacca  Pipes  (G) 

(Morris  jig) 

Bean  Setting  (I) 

(Team  of  six  boys — stick  dance) 

■Shepherds'  Hey  (I) 

(Stick  tapping  or  hand-clapping  morris  dance — team  of  six  boys) 

GROUP  DANCES 

Butterfly  (C  and  B) 

Three  Meet  (C  and  B) 

Suggestions  for  the  Boys 

For  the  costume  of  a Jester  see  Model  O.  For  that  of  a Hobby-Horse,  Model  M ; 
for  that  of  a Stilt-Man,  Model  L;  for  Jack-in- the-Green,  Model  K.  For  trumpets 
and  banners  see  models  H and  N ; for  a hat  and  doublet-and-hose,  Models  I,  J,  and  R. 


THE  SHAKESPEARE  TERCENTENARY 


15 


When  doing  morris  jigs  wear  bells  strapped  to  your  shins,  sewed  on  to  a rec- 
tangular pad  8 by  6 inches. 

When  the  dance  calls  for  sticks,  use  a stick  about  as  stout  as  a broomstick,  17 
inches  in  length.  The  baldrics  called  for  are  made  like  suspenders,  and  are  worn 
over  the  shoulders  in  the  same  way.  Use  colored  ribbons,  red,  blue  and  white, 
about  1 Yi  to  2 inches  wide.  Cross  in  the  back  and  over  the  chest,  the  ends  meeting 
and  depending  a few  inches  below  the  belt  at  the  hip.  Rosettes  of  colored  ribbons, 
containing  bits  of  yellow  and  blue,  red  and  white,  are  fastened  at  the  points  of 
intersection  at  the  chest,  back,  and  hips. 

Suggestions  for  the  Girls 

For  the  costume  of  a fairy  in  any  of  the  Shakespearean  plays  see  Model  F;  for 
a Greek  costume  see  closing  paragraph  describing  Model  F.  For  different  caps  see 
Models  B,  Q,  and  S.  For  costume  for  Queen  Elizabeth  or  for  ladies-in- waiting  see 
Model  D or  S.  For  dress  to  be  worn  in  the  English  country  dances,  see  Model  Q 
or  P.  In  making  either  Model  P or  Q,  use  a stright  full  skirt,  8 inches  from  the 
ground,  carefully  selected  shade  (each  dress  of  one  color),  with  cream  color  to  finish 
it  off  at  the  wrist  and  neck.  Do  not  use  dead  white.  Good  inexpensive  material 
in  shades  of  lavender,  green,  pink,  and  blue  can  be  obtained.  Remember  the  essen- 
tial points  are:  Low  neck,  high  waist,  sleeves  that  allow  freedom  for  the  arms,  low- 
heeled  shoes,  with  rubber  soles,  if  the  dance  is  to  be  out-of-doors. 

Suggestions  for  Special  Dances  for  High  School  Girls  and  Boys 

The  Faun  (G),  to  be  danced  as  an  interpretative  dance,  during  either  a Greek 
episode  or  a fairy  scene.  Use  costume  recommended  in  last  paragraph  under 
Model  F. 

Pipes  of  Pan  (G),  to  be  danced  by  any  number — an  interpretative  dance; 
can  be  given  during  a Greek  episode  or  a fairy  scene.  For  costume  see  last  para- 
graph of  Model  F. 

Sacrificial  Dance  (G),  to  be  danced  by  a group  of  Greek  maidens  offering  sacri- 
fices to  the  God  of  War  for  the  safe  return  of  the  departing  warriors. 

Moment  Musicale  (J),  to  be  danced  in  groups  of  three  or  in  groups  of  two; 
can  be  used  as  an  interlude  or  in  a Greek  episode  or  a fairy  scene.  For  costume  see 
last  paragraph  in  description  of  Model  F. 

Helen  (G),  Greek  dance  of  spring,  to  be  danced  by  a number  of  maidens  who, 
passing  into  the  sacred  grove,  greet  the  newborn  Spring  and  hail  the  return  of  all 
spring  flowers.  For  costume  see  closing  paragraph  of  Model  F, 

Fairies'  Reel  (J),  to  be  danced  by  high-school  girls,  if  there  are  no  elementary- 
school  children  on  the  program.  Use  simple  costume  of  cheesecloth  or  light  material 
that  will  take  the  wind.  Have  little  or  no  sleeve,  and  have  the  material  hang 
straight  from  the  shoulder,  gathered  in  at  the  waist  by  a cord.  For  the  elementary- 
school  children  have  the  costume  reach  to  the  knees.  (See  Model  F). 

Tree  Hearts  (J),  to  be  used  in  Midsummer  Night's  Dream  or  for  any  dance  of 
dryads  or  spirits  of  the  woods.  Danced  by  any  number  of  groups  of  five.  Make 
costume  out  of  light  green,  dark  green,  and  wood-brown.  (See  Model  F). 

Torch  Dance  (J),  to  be  danced  by  the  men — foresters  or  wood-cutters  from  the 
forest  scene  of  As  You  Like  It.  Use  Model  J. 

Harvest  Dance  (J),  order  Finnish  Harvest  Dance.  Danced  by  the  couples  in 
any  play  where  harvest-time  is  represented.  Use  costumes  fitting  the  play. 

Jumping  Jack  (G),  to  be  danced  by  boys  from  the  seventh  or  eighth  grades  or 
high  school.  Can  be  used  as  a competitive  dance,  or  for  the  Jester. 

Ox  Dance  (H),  to  be  danced  by  the  seventh  or  eighth  grades  or  high  school. 
Can  be  used  by  the  Jesters  or  the  peasant  characters  in  one  of  the  Shakespeare  plays. 

PROGRAM  F 

{For  the  Elementary  and  High  School ) 

PROCESSIONAL 

A group  of  trumpeters  (Mcdel  H)  from  the  seventh  grade  and  the  freshman 
year  in  high  school  lead  the  line  of  march  (for  suggestions  as  to  line  of  march  see 
Programs  A and  B).  These  trumpeters  are  followed  by  the  little  children  from  the 


16 


THE  SHAKESPEARE  TERCENTENARY 


first,  second  and  third  grades  (Models  A and  B),  followed  by  the  fairies  from  the 
third  grade  and  the  larger  fairies  from  the  upper  grades.  The  Hobby-Horse  and 
Jester  from  the  high  school,  the  Little  Jester,  Jack-in-the-Green,  and  the  Stilt- 
Man  come  next,  and  in  turn  are  followed  by  the  Shakespearean  characters  from  the 
high  school.  Following  these  come  the  children  from  the  fourth  and  fifth  grades 
who  take  part  in  the  dancing  and  singing,  and  these  are  followed  by  the  Swordmen 
from  the  high  school  and  all  those  taking  part  in  the  competitive  dances.  Next 
•come  the  dancers  and  singers  from  the  high  school,  followed  by  the  sixth,  seventh, 
and  eighth  grade  children  who  take  part  in  the  singing  and  dancing.  They  are  led 
iby  their  May  Queen,  who  is  preceded  by  her  maids;  and  the  procession  closes  with 
the  banner-bearers  from  the  eighth  grade  and  the  sophomores. 

RAISING  THE  MAY  POLE 

At  the  close  of  the  processional  a group  of  high-school  boys  bring  on  and  raise 
the  May  Pole.  During  this  ceremony  the  Jester  and  the  Hobby-Horse  are  much 
in  evidence.  When  the  May  Pole  is  finally  in  place,  the  following  dances  take  place 
around  it  or  upon  the  green: 

The  high-school  boys  and  girls  run  forward  and  do  Sellinger's  Round  (A). 
If  the  group  taking  part  is  very  large,  form  two  or  even  three  big  circles,  one  within 
the  other,  around  the  Pole;  or  use  selections  from  the  May  Pole  Dance  (figures  4, 
5,  6,  7).  Do  not  under  any  circumstances  use  figures  that  call  for  streamers. 

At  the  close  of  this  dance,  the  high-school  group  should  skip  back  into  their 
original  position,  and  the  first,  second,  and  third  grades  should  move  forward  and 
sing  one  song  selected  from  the  list  suggested  under  Program  A.  At  the  close  of 
the  song  the  children  of  this  group  should  join  hands  around  the  Pole  and  dance 
Round  and  Round  the  Village.  At  the  close  of  the  singing-game  each  child  should 
select  a partner  from  the  upper  grades,  bring  the  chosen  partner  to  the  Pole,  and 
.all  do  Looby  Loo.  After  this  game  the  first,  second  and  third  grades  should  make 
their  bows  and  curtsies  to  their  chosen  partners  and  run  back  to  their  original  place. 
Children  from  the  fourth  and  fifth  grades  should  then  move  forward  and  sing  a 
song  selected  from  the  list  given  in  Program  B.  At  the  close  of  this  song  they  should 
skip  into  the  merry  dance  of  Green  Sleeves , and  when  this  is  finished  they  should 
run  off  and  invite  either  a younger  or  an  older  child  to  be  their  partner  for  A-Hunting 
We  Will  Go. 

At  the  close  of  this  dance  the  sixth,  seventh,  and  eighth  grades  should  sing  one 
song  from  the  list  suggested  in  Program  C,  and  this  should  be  followed  by  every  one 
joining  in  the  dance  Row  Well,  Ye  Mariners.  The  dancers  should  then  fall  back  into 
a selected  group  of  four  couples  taken  from  the  sixth,  seventh,  and  eighth  grades, 
skip  forward,  and  dance  Goddesses. 

After  this  dance  the  whole  of  the  elementary  and  high  schools  should  sing  one  of 
the  songs  suggested  under  “Choruses”  for  the  elementary  or  high  school. 

The  high-school  boys  should  now  do  their  competitive  sword-dance  called  Flam- 
borough,  followed  by  a competition  between  the  fifth  and  sixth  grades  in  Bacca  Pipes. 
This  should  be  followed  by  the  fairy  dance  of  the  third  grade ; and  the  seventh  and 
eighth  grade  girls  should  dance  Helen. 

At  this  point  the  high  school  may  give  a good  shortened  Shakespearean  play. 

THE  RECESSIONAL 

The  Shakespearean  characters  should  lead  off,  followed  by  the  banner-bearers, 
the  children  of  the  first,  second,  and  third  grades,  the  sword-dancers,  followed  by  the 
fairies,  and  the  Hobby-Horse  and  Jester,  Jack-in-the-Green  and  the  Stilt-Man  should 
be  followed  by  the  fourth,  fifth,  sixth,  seventh,  and  eighth  grade  children.  Next 
should  come  the  high- school  young  people  taking  part  in  the  singing  and  dancing;  and 
the  recessional  should  close  with  the  trumpeters  taken  from  the  seventh  grade  and 
the  freshman  class  of  the  high  school. 

BIBLIOGRAPHY 

DANCES  AND  SINGING-GAMES 

(A)  Columbia  Records.  Graphophone.  Look  under  Educational  Department  for 

Dance  Music;  then  look  for  Folk-dances  and  order  the  Record  by  number. 

Sellenger's  Round,  3062;  Ruffty  Tufty,  3692. 

(B)  Victor  Records.  Talking  Machine.  Look  under  Educational  Department 

for  Dance  Music;  then  look  for  Folk-Dances  and  order  the  Record  by  number. 

(C)  Country  Dance  Tunes.  Six  sets  of  8 to  15  tunes,  75  cents  a set  (no  description). 

Single  sheets,  10  cents.  With  music  and  description.  Description  for  the 

six  sets  of  music  found  in  Country  Dance  Book,  Parts  i-ii,  3.  See  (K). 


THE  SHAKESPEARE  TERCENTENARY 


1 r 


(D)  Morris  Dance  Tunes.  Five  sets  of  6 to  8 tune?,  $1.00  a set  (no  description. 

This  tune  in  Set  4.  Description  in  The  Morris  Book,  price  $1.50.  Full  de- 
scription, no  music.  This  dance  is  described  in  Part  n. 

(E)  Morris  Dance  Tunes.  See  (D).  This  tune  in  Set  1.  Description  in  The  Morris 

Book,  Part  i.  (See  H). 

(F)  Morris  Dance  Tunes.  See  (D).  This  tune  in  Set  2.  Description  in  The  Morris 

Book,  Part  I. 

(G)  Hinman  Gymnastic  Dancing.  Arranged  and  published  by  Mary  Wood  Hinmari, 

1459  E.  53rd  Street,  Chicago.  Vol.  1,  37  songs  and  dances;  price  $1.50. 
Words,  music,  and  description.  Single  sheets,  price  10  cents. 

(H)  Hinman  Gymnastic  Dancing.  Vol.  2,  15  songs  and  dances;  price  $1.50.  Words,. 

music,  and  description.  Single  sheets,  price  10  cents.  Words,  music,  and 
description.  See  (G). 

(I)  Hinman  Gymnastic  Dancing.  Vol.  3,  37  songs  and  dances;  price  $1.50.  Words, 

1 music,  and  description.  Single  sheets,  price  10  cents.  Words,  music  and 

description.  See  (G). 

(J)  Hinman  Gymnastic  Dancing.  Vol.  4,  25  songs  and  dances;  price  $1.50.  Words, 

music,  and  description.  Single  sheets,  price  10  cents.  Words,  music,  and 
description.  See  (G). 

(K)  English  Singing-Games.  Six  sets  of  6 songs,  35  cents  a set.  Single  sheet,  8 cents. 

Words,  music,  and  description.  Collected  by  Cecil  J.  Sharp.  Published  by 
Novello  & Co.,  London.  H.  W.  Gray  & Co.,  U.  S.  A.,  Agents,  2 W.  45th 
street,  New  York. 

(L)  Sword-Dances  of  Northern  England.  Three  sets  of  3 to  7 sword-dances;  price 

$1.50  each  part.  Description,  no  music.  This  tune  in  Part  i.  Description 
in  The  Sword-Dances,  three  books,  $1.00  each.  Description,  no  music.  This 
dance  is  described  in  Book  i. 

(M)  Sword-Dances  of  Northern  England.  See  (L).  This  tune  in  Part  ii;  price  $ 1.00- 

Description  in  The  Sword-Dances,  Book  n;  price  $1.25. 

MUSIC  FOR  MARCHES  AND  SONGS 

(1)  Music  for  Processional,  Looby  Loo  (find  under  I).  Tideswell  Processional. 

A -Hunting  We  Will  Go;  The  Muffin  Man;  The  Farmer;  Round  and  Round  the  Vil- 
lage; Mistress  Mary;  London  Bridge;  military  march  from  Faust  by  Gounod ; 
March  of  the  Soldiers,  by  Tschaikovsky;  Fife  and  Drum,  old  morris  tune; 
Falling  Snow,  by  Mozart;  Tip-Toe  March,  by  Haydn;  Giant  and  Elves,  old 
French  melody;  Dancing  Bear,  by  Grieg.  All  these,  with  the  exception  of 
Looby  Loo  and  Tideswell,  are  found  in  First  Year  Music. — Hollis  Dann, 
American  Book  Company. 

(2)  Songs  for  Little  Children.  Arranged  by  Eleanor  Smith.  (84  songs.)  Price, 

$1.00.  Published  by  Bradley  Co.,  Springfield,  Mass.  Sold  by  Thomas- 
Charles  & Co.,  Wabash  Avenue,  Chicago. 

(3)  Nursery  Rhymes.  Music  by  J.  W.  Elliott.  All  nursery  rhymes  set  to  music.. 

Price,  60  cents.  Published  by  John  Church  & Co.,  New  York. 

(4)  Songs  of  the  Child  World.  By  Jessie  Gaynor.  (100  songs.)  Published  by  John 

Church  & Co.,  New  York. 

(5)  Fifty  Children's  Songs.  Music  by  Reinecke.  (49  songs.)  Price,  $1.00.  Pub- 

lished by  Schirmer,  New  York. 

(6)  Small  Songs  for  Small  Singers.  By  W.  H.  Neidlinger.  (57  songs.)  Price,  $1.00. 

Published  by  Schirmer,  New  York. 

(7)  Just  So  Songs.  By  Edward  German.  (12  sengs.)  Words  by  Kipling.  Price 

$1.20.  Published  by  Doubleday,  Page  & Co.,  New  York. 

(8)  Folk-Songs  for  Use  in  Schools.  Sold  in  sets  of  9 songs.  35  cents  per  set.  Song 

referred  to  is  in  Set  1.  Collected  and  arranged  by  Cecil  J.  Sharp.  Pub- 
lished by  Novello  & Co.,  London.  H.  W.  Gray  & Co.,  U.  S.  A.,  agents, 
2 W.  45th  Street,  New  York  City. 


THE  SHAKESPEARE  TERCENTENARY 


18 

<9) 

See 

(8). 

(10) 

See 

(8). 

(ID 

See 

(8). 

(12) 

See 

(8). 

(13) 

See 

(8). 

(14) 

English 

This  song  taken  from  Set  2. 

This  song  taken  from  Set  3. 

This  song  taken  from  Set  4. 

This  song  taken  from  Set  5. 

This  song  taken  from  Set  6. 

'oik  Songs  for  Schools.  (53  songs,  Price,  80  cents.) 
ranged  by  S.  Baring  Gould  and  Cecil  Sharp.  Published  by 
London.  Order  through  any  music-dealer. 


Collected  and  ar- 
J.  Cur  win  & Sons, 


MODELS 

MODEL  A 

A boy’s  smock  made  of  sand-colored,  inexpensive  wash  material.  Worn  over 
regular  trousers  and  shirt  and  coming  to  a little  above  the  boy’s  knees. 

MODEL  B 

A girl’s  cap  made  in  a light  shade  of  pink,  green,  or  lavender,  out  of  inexpensive 
wash  material,  cheesecloth  desirable,  or  paper  can  be  used.  Be  sure  the  children 
wear  no  ribbons  or  barretts,  and  let  the  hair  hang  in  curls  if  possible.  Do  not  tie 
the  streamers. 

MODEL  C — SHAKESPEARE 

Make  the  doublet  of  brown  denim  and  the  full  bloomer-like  trunks  of  brown  or 
dark-green  cotton  flannel  with  the  rough  side  out.  The  shoulder  cape  is  made  of 
red  or  dark-blue  canton  flannel  rough  side  out.  Make  the  white  neck  ruff  of  shelf 
paper  or  white  crinoline. 


MODEL  D — QUEEN  ELIZABETH 

Brush  the  hair  away  from  the  face,  puff  it  out  and  pile  it  up  high  on  top  of  the 
child’s  head.  Make  the  high  ruff  for  her  neck  out  of  white  crinoline  or  white  shelf 
paper.  Use  striped  material  for  the  sleeves,  overskirt,  and  the  bodice. 

MODEL  F — FAIRY  COSTUME 

To  be  used  for  the  Faun  Dance , Helen,  Pipes  of  Pan,  Sacrificial  Dance,  and 
Tree  Hearts . 

Take  a piece  of  light  material  (cheesecloth  or  any  material  that  would  take 
the  wind  well),  as  wide  as  from  your  left  elbow  to  your  right  elbow  when  you  hold 
your  hands  clasped  under  your  chin,  and  your  elbows  held  horizontally.  Use 
green,  brown,  or  blue-gray.  Cut  two  pieces  as  long  as  from  the  child’s  shoulder  to 
6 inches  below  the  knee  for  children  up  to  third  grade;  add  to  this  length  in  the 
upper  grades.  Join  these  two  pieces  at  the  top  in  two  places,  A and  B.  (See  Model 
E.)  Sew  up  the  sides  from  C to  D and  from  E to  F and  leave  the  bottom  edge 
ragged.  Place  the  head  through  the  opening,  left  between  A and  B and  the  arms 
through  B,  C,  and  A,  E,  and  tie  a cord  around  the  child’s  waist  decidedly  high. 

If  sleeves  are  desired,  allow  14  inches  below  the  knee  and  sew  up  the  sides  from 
C to  D and  from  F to  E (see  Model  G)  and  from  A to  G and  from  B to  H.  Now, 
place  the  head  through  A and  B and  the  arms  through  G,  F,  and  H,  C.  (See  Model 
G.) 


Model  E 


Model  G 


THE  SHAKESPEARE  TERCENTENARY 


19 


ix 

Model  B 


Mode!  C 


Model  D 


[Models  for  costumes  and  properties;  see  pp.  18,  22] 


THE  SHAKESPEARE  TERCENTENARY 


Model  M 


Model  N 


Model  N 


[Models  for  costumes  and  properties , see  p.  22] 


THE  SHAKESPEARE  TERCENTENARY 


91 


Model  O Mode!  P 


Model.R 


[Models  for  costumes,  see  pp.  22-23] 


22 


THE  SHAKESPEARE  TERCENTENARY 


Costume  for  Sacrificial  Dance  and  Helen , exactly  like  Models  G and  F,  only 
allow  for  length  by  measuring  from  shoulder  to  floor  on  the  grown-up  person. 

Use  scant  bloomers  of  the  same  material  and  as  few  underclothes  as  possible. 

MODEL  H 

Trumpet  can  be  made  of  pasteboard,  colored  with  gilt,  and  the  banner  made  of 
bright-colored  paper  or  material,  suspended  from  a stick  and  tied  on  to  the  trumpet. 
For  the  design  on  the  trumpet  banner,  let  the  children  think  up  their  own. 

MODEL  I 

The  hat  for  the  boys  can  be  made  out  of  any  old  black  or  gray  felt  hat,  cut  into 
shape  and  bent,  or  it  can  be  made  out  of  paper.  An  old  feather  dipped  in  water  to 
take  out  the  curl  or  a paper  feather  may  be  used. 

MODEL  J — JERKIN 

Make  out  of  denim,  dark-green  or  brown,  to  be  worn  over  shirt  dyed  the  same 
color  as  the  hose,  lace  up  the  front  with  red  or  tan  shoestring.  For  hose  sew  stockings 
on  to  underwear  and  dye  them  dark-green  or  brown.  Dye  the  shirt  at  the  same  time. 
The  belt  can  be  made  out  of  strip  of  brown  denim  with  tin  buckle. 

MODEL  K 

To  make  a Jack-in- the-Green  costume,  make  a cone-shaped  framework  of  light- 
weight wood  large  enough  to  conceal  the  boy  nearly  to  his  knees.  The  boy  is  inside 
the  cone,  which  he  holds  up  with  his  two  hands  and  looks  through  the  tangled  green. 
The  entire  framework  is  covered  with  green. ' 

MODEL  L 

The  Stilt-Man  walks  on  stilts  about  2x/i  feet  high,  carrying  a third  pole  on  which 
he  leans  when  he  wishes  to  stand  still.  The  stilts  are  fastened  on  to  his  legs.  He 
carries  a bright-colored  balloon  with  which  he  plays  tricks  on  the  children. 


MODEL  M 

To  make  a Hobby-Horse,  take  a barrel  hoop  and  hang  it  by  suspenders  (covered 
with  red)  from  the  shoulders  of  the  boy.  The  boy  stands  inside  the  hoop  and  the 
hoop  comes  to  his  waist.  Nail  on  to  the  hoop  the  material  you  desire  to  use  (calico 
or  gingham);  black-and-white  check  or  black-and-white  polka  dots  are  preferable. 
Hang  this  so  that  it  will  reach  within  twelve  inches  from  the  ground.  A bit  of  rope, 
frayed,  nailed  on  a stick  and  fastened  to  the  hoop  at  the  back,  makes  a good  tail. 
The  head  can  be  cut  out  of  wood  and  painted,  or  an  old  rocking-horse  head  found 
among  the  younger  children’s  toys.  This  is  fastened  to  the  front  of  the  hoop.  Be 
sure  the  horse  has  reins  and  the  boy  carries  a whip  with  a good  loud  snap,  and  choose 
a boy  who  can  carry  off  the  part  by  dancing  and  prancing  around.  Suspenders  hold 
up  the  horse,  which  gives  the  boy  the  freedom  of  his  hands  and  legs. 

MODEL  N BANNERS 

Use  four  or  more  kinds  of  banners,  made  out  of  material  that  will  blow — silk  or 
any  material  that  has  a good  surface  for  stenciling.  Paper  can  be  used  to  great 
advantage.  Have  the  children  look  up  different  coats  of  arms  and  bring  the  designs, 
and  if  possible  stencil  them  on  to  the  flags  themselves. 


MODEL  O 


For  the  Jester’s  costume,  use  half  yellow  and  half  black;  that  is,  one  sleeve 
yellow  and  one  sleeve  black,  one  hose  yellow  and  one  hose  black,  one  ear  yellow  and 
one  ear  black.  Sew  bells  on  all  points  of  the  costume.  Have  balloon  fastened  to 
end  of  stick. 


MODEL  P — MAY  QUEEN 

Use  inexpensive  material  (cheesecloth).  Have  the  child  wear  a long  white  veil 
and  carry  flowers. 


MODEL  Q 


For  the  girls’costume  for  sixth,  seventh,  and  eighth  grades  and  high  school,  for  girls 
taking  part  in  the  dances,  select  a good  shade  of  yellow,  lavender,  pink,  or  cream- 
white,  and  for  the  belt  and  the  outline  of  the  neck  use  black.  Use  inexpensive  ma- 
terial, but  be  sure  the  shade  is  good.  The  cap  is  made  of  the  same  material  as  the 
gown. 


THE  SHAKESPEARE  TERCENTENARY 


23 


MODEL  R 

For  the  boys’  costume  for  sixth,  seventh,  and  eighth  grades  or  for  high  school, 
make  the  doublet  out  of  brown  or  dark-green  denim  or  the  smooth  side  of  cotton 
flannel  and  sew  a pair  of  stockings  to  a pair  of  underdrawers  and  dye  them  dark-brown 
or  dark-green.  Lace  the  leg  from  the  instep  to  the  knees  with  black  tape. 

MODEL  S — FOR  HIGH  SCHOOL  GIRLS 

Make  pointed  hat  out  of  cardboard,  yellow  or  white.  Have  the  white  veil 
fastened  at  the  point  of  the  hat  and  at  the  brim.  Also  have  white  veiling  fastened  at 
the'elbows.  Use  inexpensive  material  without  any  figure  or  pattern,  and  select  a good 
shade  of  blue,  yellow,  or  lavender.  Use  in  court  scenes  for  Shakespearean  plays. 


PART  II 

SUGGESTIONS  FOR  OTHER  FORMS  OF  CELEBRATION 

A.  A SHAKESPEAREAN  FESTIVAL  FOR  THE  UPPER  GRADES 


CAST  OF  CHARACTERS 


SHAKESPEARE 

JUNO 

MOONSHINE 

WITCHES 

Lymphs 

PEASBLOSSOM 

PROSPERO 

REAPERS 

COBWEB  * 

FERDINAND 

QUINCE 

MOTH 

MIRANDA 

PYRAMUS 

MUSTARDSEED 

ARIEL 

THISBE 

PUCK 

IRIS 

WALL 

OTHERS 

CERES 

The  procession,  led  by  the  Heralds,  marches  to  the  green  or  the  gymnasium, 
singing — 01  Day  of  Joy  and  Feasting.  Folk-dances  from  Somerset  (Sharp) . 

Each  grade  carries  a symbol  of  the  play  each  is  going  to  represent:  a decorated 
hoop  for  the  Magic  Ring  of  Midsummer  Night’s  Dream;  a staff  of  enchantment  for 
the  Tempest,  etc. 

As  the  procession  nears  the  green,  it  forms  into  a circle.  The  principal  characters 
take  their  places  in  the  center,  while  the  others  dance  Sellinger's  Round.  As  the 
dancers  finish  they  seat  themselves  at  the  edge  of  the  gfceen. 

The  Magic  Ring  is  then  placed  in  the  center  of  the  group  and  Prospero  speaks. 

I.  Procession  and  all  take  places.  (Music,  song;  Heart’s  Ease.  Ancient 
melody  from  Fifty  Shakespearean  Songs.  Vincent.  Publisher,  Charles  Ditson, 
New  York.) 

II.  Appearance  of  Shakespeare. 

Prospero. — We  gather  here  to  do  homage  to  our  noble  creator.  All  that  mars 
our  perfect  day  is  the  absence  of  him  whose  imagination  launched  us  forth  to  fill  the 
bookshelves  of  all  ages.  How  now,  witches!  Canst  thou  not,  with  thy  black  magic, 
conjure  up  the  shade  of  the  immortal  Shakespeare? 

Witches. — (Music,  MacDowell’s  Witches  Dance).  Dance;  mutter;  brew  concoc- 
tion in  pot.  Climax,  huddle  in  heap,  completely  hiding  cauldron.  Fall  back  and 
Shakespeare  is  revealed.  All  characters  bow  low  in  homage. 

Shakespeare. — Enough!  And  in  your  places,  one  and  all.  Dost  know  thy  lines 
yet?  I’ll,  put  thee  through  thy  paces.  Come,  Pyramus  and  Thisbe,  what  enter- 
tainment canst  afford? 

Pyramus  and  Thisbe. — Midsummer  Night’s  Dream. 

Shakespeare. — Now,  Puck,  fetch  out  some  fairy  folk  and  dance  and  sing. 

Peasblossom!  Cobweb!  Moth!  Mustard  Seed! 

(Interpretative  Dance.) 

Puck  in  pantomine  acts  out — “How  now,  spirits!  whither  wander  you?” 

The  fairies  interpret: 

Over  hill,  over  dale, 

Thorough  bush,  thorough  briar, 

Over  park,  over  pale, 

Thorough  flood,  thorough  fire 
I do  wander  everywhere, 

Swifter  than  the  moon’s  sphere: 

And  I serve  the  fairy  queen, 

To  den  her  orbs  upon  the  green. 

The  cowslips  tall,  her  pensioners  be: 

In  their  gold  coats’  spots  you  see; 

Those  be  rubies,  fairy  favors, 

In  those  freckles  live  their  savories: 

I must  go  seek  some  dewdrops  here 
And  hang  a pearl  in  every  cowslip's  ear. 


26 


THE  SHAKESPEARE  TERCENTENARY 


Puck  then  interprets  while  the  fairies  act  as  chorus — 

I am  that  merry  wanderer  of  the  night. 

I jest  to  Oberon  and  make  him  smile, 

When  I a fat  and  bean-fed  horse  beguile, 

Neighing  in  likeness  of  a filly  foal: 

And  sometimes  lurk  I in  a gossip’s  bowl, 

In  very  likeness  of  a roasted  crab. 

And  when  she  drinks,  against  her  lips  I bob 
And  on  her  withered  dewlip  pour  the  ale. 

The  wisest  aunt,  telling  the  saddest  tale, 

Sometimes  for  three-foot  stool  mistaketh  me, 

Then  slip  I from  her,  and  then  topples  she, 

And  “tailor”  cries  and  falls  into  a cough: 

And  then  the  whole  quire  hold  their  hips  and  laugh 
And  waxen  in  their  mirth  and  sneeze  and  swear 
A merrier  hour  was  never  wasted  there. 

Shakespeare. — You  next,  Prospero,  show  us  the  mysteries  of  your  lonely  isle. 

Tempest. — Act  iv,  Scene  1.  Line  beginning  (Prospero  speaking):  “What,  Ariel, 
my  mysterious  servant.” 

Scene  finishes  with  the  dance  of  the  reapers  and  the  nymphs.  Mage  on  a Cree. 
(Sharp.) 

Shakespeare. — A good  old  English  dance!  Make  ready. 

All  join  in  Gathering  Peas  cods.  (Sharp.) 

Suddenly  a bell  tolls  and  the  witches,  who  have  been  watching  in  the  background, 
rush  forward  to  the  cauldron  and  begin  their  incantation.  The  crowds  move  slowly 
away  as  the  smoke  rises  from  the  cauldron  and  Shakespeare  disappears. 


B.  SUGGESTIONS  FOR  A MASQUE  OR  FROLIC  OF  THE  FLOWERS 

BASED  ON  THE  FLOWERS  MENTIONED  IN  SHAKESPEARE’S  PLAYS 
{To  he  adapted  for  either  elementary  or  high-school  use.) 

Each  group  of  boys  or  girls  represents  a flower  mentioned  by  Shakespeare  in  one 
of  his  plays.  They  are  dressed  in  appropriate  colors  and  each  flower  wears  a flower 
cap  made  of  paper.  (A  small  pamphlet  entitled  “ Shakespeare1  s Garden  and  Wayside 
Flowers ,”  published  in  England,  can  be  had  for  25  cents  at  Brentano’s,  Fifth  Avenue 
and  24th  Street,  New  York,  in  which  every  flower  is  sketched  in  color  and  the  verse 
of  the  play  given.  Patterns  for  the  paper  hats  can  be  had  at  Dennison’s,  Fifth 
Avenue  and  26th  Street,  New  York,  or  may  be  copied  from  the  sketches. 

Music  may  be  selected,  according  to  needs,  from  the  Bibliography  given  on  pages 
16-18. 

The  procession  to  the  green  is  led  by  Puck,  who  by  his  magic  has  wooed  the 
flowers  from  their  gardens.  They  walk  in  orderly  rows  until  they  reach  the  green 
and  Puck  then  picks  up  a leaf  and  jumps  on  the  top  of  a mushroom  and  blows  a 
shrill  blast.  The  magic  note  sets  free  the  flowers  and  they  dance,  skip,  and  play 
while  Puck  runs  here  and  there,  teasing  and  prompting  them  to  more  merriment. 
At  a second  blast  of  Puck’s  whistle,  they  scatter  to  their  seats  at  the  side  of  the  Green 
and  Puck  mounts  the  stool.  He  calls  upon  each  group  in  turn  and  demands  of  them 
a game,  a song,  or  a dance. 

Sorrfetimes  he  calls  them  with  their  verse  or  sometimes  they  recede  before  they 
play  their  parts. 

When  they  have  all  finished,  Puck  again  mounts  his  stool  and  calls  for  all  to 
join  in  the  dancing  of  Gathering  Peascods.  Then,  still  skipping,  they  follow  Puck 
back  to  their  gardens. 

C.  OUTLINE  FOR  A NORMAL  SCHOOL  FESTIVAL 

By  Delia  Smith 

General  plan  to  be  studied  in  the  English  or  History  Department.  Dramatiza- 
tion to  be  worked  out  as  class  exercise.  Fairy  songs  and  simple  accompaniments  to 
be  worked  out  by  the  music  students.  First  and  third  scenes  to  be  given  by  children 
in  the  grades  of  the  model  or  practice  school.  Second  scene  to  be  given  by  the  normal 
students. 


THE  SHAKESPEARE  TERCENTENARY 


27 


ALL  ON  A MIDSUMMER’S  NIGHT 

THE  MIDSUMMER’S  EVE  FESTIVAL  AT  STRATFORD-ON-AVON  IN  1578  AND  WHAT  CAME 

OF  IT 

Scene  I 

Time:  About  4 o’clock  in  the  afternoon  of  June  23,  1578. 

Place:  The  village  street  by  the  green  near  the  Guild  Hall,  Stratford-on- A voir.. 
Setting:  Scenery  merely  suggestive,  two  or  three  little  cottages  visible  through  the 
trees  across  from  the  green. 


Characters 

fuel  gathers"  {boys  and  girls  of  twelve  to  fourteen,  sixteen  in  number). 
town  children  {boys  and  girls  of  six  to  eight,  ten  in  number). 
villagers,  dames  and  shopkeepers  ( ten  or  twelve  in  number). 
dame  wenlock,  a village  housewife. 
the  town  crier,  or  Bellman. 

{ Troops  of  children  enter,  carrying  apronfuls  of  wood  and  straw,  singing  to  the  tune 
of  the  11  Mulberry  Tree  ” {copy  of  Meets  in  May). 

i 

Here  we  come  gathering  wood  today, 

Wood  today,  wood  today, 

Here  we  come  gathering  wood  today, 

All  for  our  Midsummer’s  fire. 

ii 

Now  whose  wood  shall  we  gather  away, 

Gather  away,  gather  away, 

Now  whose  wood  shall  we  gather  away, 

All  for  our  Midsummer’s  fire? 

hi 

We’ll  gather  Dame  Wenlock’s  wood  away, 

Wood  away,  wood  away, 

We’ll  gather  Dame  Wenlock’s  wood  away, 

All  for  our  Midsummer’s  fire. 

IV 

Then  whom  shall  we  send  to  take  it  away, 

To  take  it  away,  take  it  away, 

Then  whom  shall  we  send  to  take  it  away, 

All  for  our  Midsummer’s  fire? 

v 

We’ll  send  Nancy  to  take  it  away, 

To  take  it  away,  to  take  it  away, 

We’ll  send  Nancy  to  take  it  away, 

Off  to  our  Midsummer’s  fire. 

( Children  get  up,  gather  up  their  bundles,  while  one,  Nancy,  knocks  at  the 
door  of  a cottage .) 

Dame  Wenlock — I’  faith,  and  it’s  wood  ye  would  have,  is  it?  Not  a faggot  will 
I give  you  till  ye  dance  me  a round  on  the  green  yonder. 

Children  { throwing  down  wood).  A dance!  a dance!  We’ll  dance  for  you, 
good  dame. 

{Children  gather  in  circle  and  dance  Sellenger's  Round.  In  the  meantime 
some  of  the  village  housewives  have  gathered  about,  as  well  as  some  ragged 
little  children.  At  the  finish  all  clap,  etc.) 

First  Villager — Come,  another,  pretty  lassies! 

Second  Villager — The  Trenchmore,  only,  and  we’ll  send  you  on  your  way  with 
a right  merrie  will. 

{Some  of  the  girls  demur,  but  at  last  two  sets  of  eight  are  formed,  and  the  children 
dance  Trenchmore.) 


28 


THE  SHAKESPEARE  TERCENTENARY 


Dance 

(■ After  the  dance  the  dancers  sink  down  on  the  grass  and  the  little  children  play 
games , with  much  laughing  and  yelling .) 

Games:  (1)  Oats  and  Beans  and  Barley  (Shropshire  version). 

(2)  I’m  on  Tommy  Tiddler's  Ground. 

(The  Town  Crier  now  comes  along  the  street  announcing  as  he  rings  his  hell): 

Town  Crier — Oyez!  Oyez! 

Hear  one!  Hear  all! 

At  the  goodlie  hour  of  nine 

Come  gather  ye  in  merrie  companie 

On  Pevensy  Hill 

To  watch  the  blaze  of  St.  John’s  fire. 

Much  mirth  and  laughter  will  abound. 

Come  one,  come  all! 

Oyez,  Oyez! 

(The  fuel  gatherers  jump  up  and  pick  up  their  bundles.  Dame  Wenlock  gives 
Nancy  a hunch  of  straw.  The  villagers  go  hack  to  their  cottages;  the  children 
tag  after  the  crier.  The  gatherers  swing  on  their  way  singing , “ Here  we  come 
gathering  straw  today  ” etc.) 

If  this  scene  is  too  short  a morris  dance  by  some  of  the  village  shopkeepers,  etc., 
might  be  inserted. 

Scene  II 

Time:  Ten  o’clock  in  the  evening,  June  23,  1578. 

Place:  Pevensy  Hill. 

A trifle  to  left  of  stage  a large  heap  of  straw  and  small  kindling  has  just  been 
lighted.  To  far  right  a group  of  old  men  and  women  sitting  on  benches  and  stools, 
men  smoking  long  pipes.  Around  the  fire  in  a large  irregular  circle  the  young  men 
and  women  are  gathered;  one  young  fellow,  Will  Shakespeare,  seems  to  be  the 
favorite  of  them  all. 

After  the  first  high  blaze  the  dancers  join  hands  around  the  fire  and  dance  the 
Fire  Spirit  Dance  as  given  in  Kimmins’s  Guild  of  Play  Book,  pt.  i,  p.  27. 

As  the  flames  abate  a little,  the  young  folk  stop  their  dance,  the  old  people 
clap  and  crowd  up  around  them. 

The  Mayor  then  has  a summons  blown  and  calls  out  that  there  will  be  a contest 
at  the  quarterstaff,  while  they  wait  for  the  fire  to  burn  down  to  the  embers. 

Two  wrestlers  are  called  forth  and  each  is  given  an  eight-foot  staff.  Big 
Gilbert  Stutely  and  Tom  Haddon  “lay  on”  with  all  their  might.  Some  cheer  Tom, 
some  Gilbert.  Gilbert  totters,  regains,  and  metes  Tom  a lusty  blow.  When  Tom 
falls,  all  gather  round  and  carry  him  off  to  one  side.  Soihe  of  the  young  fellows 
pick  Tom  Haddon  up  on  their  shoulders  and  start  around  the  fire  with  him. 

Again  the  trumpet  sounds  and  the  Mayor  declares  Tom  Haddon  victor,  an- 
nouncing also  that  there  is  time  for  another  contest  and  his  lady  wishes  a “whistling 
match.”  This  suggestion  meets  with  great  applause.  The  Jester  is  called  forth 
and  bidden  to  do  his  best  to  provoke  to  laughter  the  various  contestants. 

Tall  Richard  Dendy  begins,  and  whistles  right  merrily  until  the  Jester,  Scoperel, 
-executes  an  impossible  contortion  and  causes  the  tall  lad  to  laugh. 

Grim  Wyllie  Kimbey  then  takes  his  place  and  whistles  most  skillfully  until 
on  the  high  part  his  whistle  refuses  “to  come”  and  he  retires  amidst  the  general 
laughter. 

Will  Shakespeare  is  then  called  forth  and  succeeds  in  whistling  to  the  great 
pleasure  of  the  Mayor’s  lady  who  rewards  him  with  a flower  from  her  bouquet. 

By  this  time  the  fire  is  low  enough  and  “the  youths  and  maids”  leap  over  the 
flames.  The  Mayor  appoints  three  old  men  as  judges  and  the  couple  that  leaps 
the  highest  is  to  be  married  first. 

After  the  decision  of  the  judge,  the  Town  Crier  announces  that  by  the  village 
clock  it  is  after  eleven  and  all  good  people  should  hurry  home  to  bed;  unless,  that  is, 
there  happened  to  be  some  most  brave  youths  who  dared  to  seek  the  seed  of  the 
mystic  fairy.  He  wished  to  remind  all  young  people  that  this  seed,  when  gathered 
;at  the  fearful  hour  of  midnight,  possessed  magic  power.  It  gave  the  finder  invisi- 
bility and  discovered  to  him  by  its  golden  light  the  place  where  great  treasure  lay 
Ihidden.  . 

Much  laughter  arises  at  this,  for  the  superstitious  beliefs  are  weakening. 

Again  the  Crier  urges  them  to  their  homes,  and  gathering  up  the  last  burning 
brands  from  the  fire  they  start  homeward  in  a merry  procession. 


THE  SHAKESPEARE  TERCENTENARY 


29 


Scene  III 

Time:  Midnight. 

Place:  The  wood  near  Pevensy  Hill. 

Setting:  Stage  almost  completely  dark,  tall  shadowy  brakes  visible. 

Characters 

Will  Shakespeare.  Second  Fairy. 

Titania.  Third  Fairy. 

Oberon.  Fourth  Fairy. 

Puck.  Other  Fairies. 

First  Fairy.  Dame  Wenlock. 

Villagers , young  men  and  women 

(Stray  stooping  shadows  enter  in  kmples  or  singly.  Each  goes  up  to  a fern 
group , spreads  a cloth  beneath , and  waves  a mystic  gesture  above  the  fern,, 
then  gathers  up  cloth  and  goes  on. 

A streak  of  moonlight.  No  one  crosses.  Finally  Will  Shakespeare  stumbles 
across,  peering  on  every  side.) 

THE  MIDSUMMER  NIGHT 

(Translated  from  the  German  of  Ludwig  Tieck  by  Mary  Rumsey) 

Scene:  An  open  place.  Trees  growing  about  it,  low  shrubs  and  a wood  close  at  hand. 
Enter  Shakespeare,  a boy,  from  the  wood 

Shakespeare: 

Pshaw!  I have  taken  the  wrong  path  again! 

’Tis  growing  dusk:  how  shall  I find  my  way? 

And  I so  weary  too!  Well,  by  and  by, 

When  the  moon  is  higher,  I can  try  again 
With  better  chance.  Meantime  I must  lie  down, 

And  rest  awhile. 

(Sits  down  and  becomes  drowsy.) 

How  soft  the  breeze  steals  thro'  yon  alder  brake! 

Waving  the  slender  blossoms  to  and  fro! 

A gentle  shiver  creeps  o’er  all  my  limbs, 

Sleep  presses  on  my  weary  eyelids.  Ha, 

How  gloriously  . . . does  Luna  . . . rise  across  the — 

(Falls  asleep.  Distant  music  in  the  wood.) 

Enter  Puck , an  elf,  from  the  wood,  leaping,  finally  sits 

Puck: 

The  glow-worm  now  lights  up  her  em’rald  lamp; 

Bright  crystal  dews  fill  every  flow 'rets  cup; 

The  wan  moon’s  disk  assumes  a golden  hue; 

The  Cricket’s  chirp  sounds  from  the  stubble-field; 

The  Bat  flits  silent  from  his  ivy  home : 

Now,  shall  I lure  some  wand’rer  from  his  way? 

Mislead  the  thirsty  Pilgrim  from  the  brook? 

Or  fill,  with  chink  of  gold,  the  dreaming  ear 
Of  thrifty  Housewife,  nodding  at  her  wheel, 

That  waking,  she  may  fret  its  loss? — But  stay, 

Evening’s  last  gleam  has  faded  into  night, 

I must  wait  here,  to  meet  the  Fairy  King. 

(Sings) 

O’er  the  briny  floods 
Thro’  dark  leafy  woods, 

Over  mountain,  over  vale, 

Over  mead,  and  flow’ry  dale, 

Troop,  ye  merry  elves  of  night, 

Here  to  hold  our  revels  light! 

(Song  of  Fairies  answering  in  distance) 

• We  swim  in  the  vapors  gray, 

Saluting  the  parting  day; 

We  glide  on  the  white  moon-ray, 

Merry  elves  all, 

Hither, 

Together, 

We  troop  to  thy  call!  (They  enter > 


30 


THE  SHAKESPEARE  TERCENTENARY 


Puck: 

Where  have  ye  stayed  so  long? 

Hast  thou  collected  from  the  last  blown  rose 
The  dewy  drops  which,  warmed  by  Cynthia’s  beam, 
Do  form  the  bath,  wherein  our  gracious  Queen 
Her  lovely  person  laves? 

Second  Fairy: 

I have  them  here 

Collected  lucent,  in  this  diamond-drop. 

Third  Fairy: 

And  I — look!  in  this  chalice,  deftly  wrought 
Of  tender  rose-leaves,  I do  hold  enshrined 
The  perfume  of  a whole  sweet  violet  bed. 

Fourth  Fairy: 

Hast  thou  fulfilled  our  Lord’s  commands  thyself? 

PucE  (. scornfully ) : 

As  if  I were  laggard,  more  than  they! 

Why  in  an  instant  I could  reach  the  moon; 

Thrice,  in  an  hour,  could  girdle  the  round  earth 
And  with  more  time,  should  I accomplish  less? 

Here  are  the  Lilies,  here  the  rose-buds  moss’d 
And  linden  flowers,  that  I was  bid  collect; 

And  spices  rich  from  Ceylon’s  gorgeous  isle. 

{Sprinkles  spices) 

And  yonder  note — for  our  sweet  Fairy  Queen 
I’ve  spread  a dainty  couch  of  downy  plumes, 

Azure,  and  green  and  gold,  stripp’d  from  the  wings 
Of  butterflies. 

First  Fairy: 

A rare  brave  Spirit  thou! 

Fuck: 

They  come!  They  come!  Listen,  how  thro’  the  trees 
Celestial  murmurs  breathe,  and  silver  tones 
Float  to  our  charmed  ears.  Our  King  draws  nigh. 

Chorus  of  Fairies 
In  the  darkling  wood 

Owlets,  hoot  no  more; 

Hence!  to  some  far  shore, 

Slimy  viper-brood, 

All  things  vile  and  ugly,  fly, 

For  our  F'airy  King  draws  nigh! 

Rest,  and  silence,  fill 

This  enchanted  ground; 

Winds,  be  hushed  around; 

Rustling  leaves,  be  still. 

All  rude  tones  in  softness  die, 

For  our  gentle  Queen  draws  nigh! 

Chirp  no  cricket  here 

Flit  no  wanton  breeze, 

But  from  out  yon  trees, 

Gushing  full  and  clear 
Philomel,  be  thy  sweet  lay 
On  the  night-air,  borne  away! 

Enter  Oberon  and  Titania  {soft  music  attending  them) 
Chorus  of  Fairies 

To  our  Fairy-dance 
See  the  Queen  advance, 

AH  in  rosy  garlands  dight 
Floating  hither  in  the  soft  moonlight. 

’ High  is  her  command, 

In  the  Spirit-land; 

For  her  wise  and  gentle  sway 

We  small  elves  do  love,  and  cheerfully  obey. 


THE  SHAKESPEARE  TERCENTENARY 


31 


Titania: 

Trace  now  the  ruddy  circle,  in  whose  bound 
We  may  our  airy  measures  weave; 

Then  link  yourselves  together,  Fays,  and  glide 
Wave-like  above  the  spiry  blades  of  grass. 

( Fairies  dance  to  soft  music ) 

T itania: 

Break  off!  Sleep  steals  upon  my  drooping  sense: 
Murmur  some  gentle  lullaby — and  wave 
Your  fans  of  rose  leaves,  and  the  delicate  wings 
Of  moths — to  woo  around  me  cool  soft  airs. 

Fairies  ( chanting  low): 

Pour,  nightingale, 

Thy  tenderest  wail, 

Rise,  mists  and  veil 

Our  Fairy  Queen. 

Flowers,  bow  your  head, 
And  perfume  shed 
Around  the  bed 
Of  our  sweet  Queen. 

Winds,  hushed  be; 

Oh,  Linden- tree, 

Wave  silently 

Above  our  Queen. 

Titania: 

'Tis  vain!  Sleep  will  not  rest  upon  mine  eyes. 
Some  mortal  son  is  lurking  near,  unseen. 

Oberon: 

A mortal! 

Puck: 

Give  me  command,  and  I will  punish  him. 

I’ll  search  the  wood,  and  sharpest  thistles  stick 
Under  his  clothes,  to  vex  his  flesh  profane: 

I’ll  make  his  bold  cheek  tingle  red  with  shame, 

For  daring  on  our  mystic  rites  to  gaze. 

Titania: 

Stay!  look,  oh,  look!  It  is  a lovely  Boy; 

How  peacefully  he  sleeps,  while  on  his  face 

The  moonbeams  play;  sure  some  enchanting  dream, 

All  full  of  sunshine,  holds  him  captive  now, 

For  see,  he  smiles — how  softly!  Oberon, 

It  was  but  yesternight,  we  joyful  held 
Our  feast  of  reconcilement.  Shall  it  be 
That  our  first  act,  united,  is  revenge?- 
Is  not  this  boy  as  beauteous  as  a child 
Of  Fairy-land?  Shall  we  misuse  the  power 
That  we  are  gifted  with,  to  work  him  ill? 

Nay — how  much  better,  how  much  nobler  ’twere, 
Worthier  of  spirits  good,  our  might  t’  employ 
For  good  alone.  Then,  Oberon, 

My  Lord,  my  love,  yield  to  my  pleading  now; 

Let  us,  instead  of  harming,  send  him  hence 
Enriched  with  blessings. 

Oberon: 

Yet,  thou  knowest  thyself 

How  strict  the  laws  are  of  our  Spirit-realm; 

This  bold  intruder,  who 

Titania: 

Nay,  blame  not  him; 

He  lost  his  way  in  the  wild  wood,  and  chance 
Led  him  to  rest  too  near  this  haunted  ground-, 

And  must  he  suffer  for  the  trick  of  Fate? 

Oberon!  This  is  the  first  prayer  of  thy  Queen, 

Of  thy  so  lately  reconciled  love, 

Thou  wilt  not — canst  not — sternly  say  her  nay 


32 


THE  SHAKESPEARE  TERCENTENARY 


Oberon: 

Be  it  then  as  thou  wishest.  But,  what  gifts 
Wouldst  thou  bestow  on  him? 

T itania: 

Not  riches,  no, 

The  base  desire  of  little  minds.  Go,  Fays, 

Fetch  me  forget-me-nots  and  violets, 

That  I may  now  endow  him  worthily — 

But  pluck  no  flower  that  has  not  first  tonight 
Opened  its  virgin  bud,  unsunned  and  pure. 

Bring  odorous  Thyme  and  Lilies  sweet  and  pale 
Gleaming  by  moonlight.  Hasten,  and  return 
Ere  Time’s  quick  pulse  has  numbered  many  beats. 

Fairies  { departing ) : 

Off!  through  the  wood, 

With  the  speed  of  light, 

We  fly  to  gather  the  buds  of  night. 

Their  scent  we’ll  bear, 

Through  the  dewy  air, 

Thither,  and  back  in  an  instant’s  flight. 

{Exeunt.) 

Titania: 

Upon  his  brow  I’ll  press  this  balmy  juice, 

And  consecrate  him  to  the  minstrel  art. 

Oberon: 

Fly  like  a moonbeam,  Puck!  Outstrip  the  wind! 
Far  to  the  morth  there  lies  a moss-grown  rock 
Adown  whose  side  dashes  a mountain  stream. 
Thousands  of  flowers  bloom  lovely  at  its  foot. 
These  gather,  and  then  westward  fly  in  haste. 
There  wilt  thou  find  a rugged  mountain  dark, 

And  in  the  midst  thereof,  a lonely  spot 
Where  ray  of  sun  or  moon  hath  never  pierced. 
Under  the  bushes,  dry  and  withered,  there — ■ 
Amidst  the  stones  and  moss,  grows  a white  flower. 
Within  its  cup  a single  drop  of  dew 
Has  slowly,  slowly  gathered — till  it  now 
Imparts  to  the  wan  flower  its  own  warm  blush. 
This  bring  me  quick,  but  shake  not  from  its  breast 
The  precious  drop.  Haste! 

Puck: 

Nay,  I’ll  run  a match 

With  any  of  the  winds  and  come  in  first. 

{Exit.) 

Titania: 

How  knew’st  thou  of  that  flower? 

Oberon: 

In  the  sad  time 

Of  our  estrangement,  Sweet,  I wandered  oft 
On  that  rude  mountain,  thro’  that  somber  wood, 
Oft  sat  forlorn  in  the  waste  solitude, 

Or  pined  in  dim  caves,  with  the  hooting  Owl: 

’T  was  then  I watch’d  the  drop  gradual  distil 
Into  the  flower.  All  such  slow-ripening  fruits 
A spirit  pervades,  that  with  the  human  soul 
Hath  a mysterious  sympathy — in  some 
A healing  virtue  dwells,  to  cure  disease. 

Some  will  excite  Ambition,  Hatred,  Love. 

The  flower  my  servant  seeks  will  kindle  high 
The  glow  of  fervid  phantasy.  They  come. 

Enter  Puck  and  Fairies 


Puck: 


I’m  first,  remember! 


THE  SHAKESPEARE  TERCENTENARY 


33 


First  Fairy: 

As  we  left  the  wood 

We  heard  thee  rushing  o’er  the  farthest  mead. 

Second  Fairy: 

Here  are  forget-me-nots. 

Third  Fairy: 

Sweet  violets  here. 

Fourth  Fairy: 

All  have  unfolded  since  the  day’s  decline. 

Puck: 

Here  are  the  blossoms  gathered  from  the  dell 
Beside  the  waterfall — here  the  pale  flower — 

See!  in  its  bosom — like  a ruby  gem, 

Gleams  undisturbed  the  precious  mystic  drop. 

Titania: 

These  various  flowers  I scatter  o’er  thy  brow. 

O sing,  as  none  before  thee  ever  sung, 

As  never  mortal  after  thee  shall  sing! 

A poet  thou  shalt  be, 

The  greatest  earth  has  known.  Wander  alone 
By  dewy  moonlight  thro’  the  still,  green  wood, 

And  with  a pulse,  whose  every  beat  is  joy, 

Watch  how  the  buds  swell  from  the  dark  brown  rind 
Call’d  forth  by  spring.  Be  great,  yet  nothing  reck 
Of  thine  own  greatness.  Not  to  thyself, 

Though  to  all  else,  seem  thou  the  first  of  men. 

Oberon: 

Lo!  I pour  out  on  thee  this  mystic  drop, 

And  thro'  thy  bosom  inspirations  throng. 

Thy  genius  shall  transport  thee  far  beyond 
All  circumscribing  limits.  Thou  shalt  know 
A strange  delight  when  midnight  tempests  roar, 
When  storms  uproot  the  huge  oak  from  the  hill 
And  hurl  them  crashing  to  the  vale  below. 

Oh  sing,  as  none  before  thee  ever  sung, 

As  never  mortal  after  thee  shall  sing! 

Let  thy  renown  survive  the  lapse  of  time 

In  undimm’d  splendor,  and  posterity 

The  most  remote,  with  reverence  naming  thee, 

And  ever  say,  “Would  I had  Shakespeare  been!” 

Fairies  (sing): 

Thrice  happy  thou ! 

Whom  Oberon  doth  delight, 
With  our  Ladie  bright, 

Thus  to  endow! 

Thrice  happy  thou! 

Whom  a godlike  race, 

With  such  godlike  grace, 

Richly  endow! 

Titania: 

When  thou  becom’st  a man — grateful  recall 
This  night  eventful — and  to  after  times 
In  sweetest  numbers  sing  what  now  thou  dream ’st. 
Tell  them  of  Oberon  and  Titania’s  strife 
And  their  glad  reconcilement.  This,  the  meed 
Of  thanks,  thou  shalt  requite  our  gifts  withal. 

Now  dawn,  soft  blushing,  calls  the  slumbering  day; . 
The  moon  looks  pale,  faint  gleams  the  morning  star; 
Back  to  our  woods  we  Fairies  must  away. 

But  often  near  thee,  Gentle  Boy,  will  I 
Hovering  fill  all  thy  soul  with  keen  delight. 


34 


THE  SHAKESPEARE  TERCENTENARY 


Oberon: 

Now,  fare  thee  well!  Thou  spirit-favored  child, 

I too  will  visit  thee:  when  with  deep  awe 

Thou  mark’st  the  cataract  leap  o’er  some  tall  rock, 

Or  silent  track’st  the  forest  solitudes 

Or  climb ’st  the  mountain  peak,  to  watch  the  clouds 

Pregnant  with  thunder,  gathering  far  below, 

I will  be  near,  and  cool  thy  fever’d  cheek 
And  send  a shivering  transport  to  thy  soul! 

Chorus  of  Fairies 

Morning  wakes: 

To  thickets  and  brakes 
Away  we  hie; 

Before  the  day’s  beam 
The  wan  moon’s  gleam, 

And  the  night  stars  fly. 

In  deep  green  dells, 

In  lily’s  bells, 

We  crouch  all  day. 

But  again  at  night, 

When  the  stars  shine  bright, 

We  shall  frisk  and  play.  ( Exeunt ) 

Puck: 

Must  I depart,  and  nothing  leave  with  thee? 

I am  no  spirit  of  high  rank — ’tis  true — 

Such  royal  gifts,  as  Oberon  and  his  Queen, 

I have  not  to  bestow.  Yet  I can  breathe 
A merry  humor  into  thee.  Be  thine 
The  power,  when’er  thou  will’st,  to  drive  away 
Black  melancholy  from  each  human  breast ! 

Now  from  the  village  crows  the  wakeful  cock. 

Paler  and  paler  still,  the  wan  moon  fades. 

The  Owl  flits  noiseless  home  to  the  dark  wood, 

Already  on  her  nest  the  sky-lark  shakes 

The  night-dew  from  her  wings — I must  away!  (Exit) 

Shakespeare  (slowly  awakening): 

Where  am  I?  Oh!  where  have  I been?  Who  spoke? 

How  heavenly  pure  seems  every  breath  I draw! 

What  spot  was  that  I saw,  veil’d  in  soft  mist? 

Where  have  ye  vanished,  bright  celestial  forms? 

Why  beats  my  heart  so  wildly?  Whence  this  deep 
Emotion,  that  would  fain  have  vent  in  tears? 

How  wondrous  fair  this  world!  Each  pulse,  each  breath, 

Each  fiber  of  my  body  thrills  with  joy! 

Whither?  Oh  whither?  I am  rapt!  and  lost! 

(The  villagers  hurry  on  from  different  directions , Dame  Wenlock  leading. 
Gilbert  Shakespeare  is  among  the  boys.  They  exclaim , 11  At  last ,”  when  they 
catch  sight  of  William , and , with  many  taunts  as  to  his  stupidity  and  the 
magic  fern  seed , carry  him  away  toward  the  village  singing,  “ She's  gone  with 
the  waggle-taggle  Gypsies , 01") 

D.  OUTLINE  FOR  A FESTIVAL  FOUNDED  ON  THE  CHARACTERS  OF  FOOLS 
IN  SHAKESPEARE’S  PLAYS 

Dialogue  to  be  worked  out  as  class  exercise  according  to  method  suggested  in 
outline. 

Dances. — Folk-dances  used  by  Puck  and  characters  taken  from  list  appended. 
Interpretative  dances  worked  out  according  to  suggested  method. 

Music  to  be  taken  from  list  appended. 

THE  MERRY  MASQUE  OF  ALL  FOOLS 

A SHAKESPEAREAN  FESTIVAL  FOR  CHILDREN 

Synopsis 

Will’s  fairies  have  heard  that  Will’s  fools  are  coming  out  of  their  books’on  April 
first,  and  have  gathered  to  spy  on  them.  They  are  carefully  hidden  as  the  fools,  led 


THE  SHAKESPEARE  TERCENTENARY 


35 


by  Puck,  come  strolling  in,  each  holding  his  book  in  front  of  him.  Since  they  are 
always  merry,  they  decide  that  the  way  to  be  really  jubilant  is  to  be  sad,  so  they 
sing,  Come  away , come  away,  Death.  At  the  end  of  the  song,  all  jump  over  their 
books.  This  is  so  funny  that  the  fairies  betray  themselves  by  laughing.  While  the 
fools  are  busy  chasing  the  fairies  away,  the  other  characters  in  the  books  seize  the 
opportunity  to  come  out.  The  sun  now  comes  up,  and  each  one,  mistaking  it  for 
the  footlights,  begins  the  first  lines  of  his  own  particular  play.  Puck  explains  that 
it  is  a holiday,  and  instead  of  working  they  should  be  merry,  so  they  sing  and  dance. 
When  the  fools  return,  they  allow  the  characters  to  watch  while  each  fool  performs 
his  own  particular  characteristic  stunt.  However,  they  must  promise  to  go  back  to 
their  books  as  soon  as  the  fun  is  over — because  this  is  Fool’s  Day  and  they  must  wait 
until  April  23 — St.  George’s  Day — for  their  holiday.  After  the  characters  have  been 
driven  back,  the  fools  realize  that  they  had  no  business  coming  out  anyway.  They 
l^y  most  of  the  blame  on  Puck,  who  lies  hidden  behind  a rock.  As  punishment,  they 
pile  the  books  one  on  the  other  and  put  Puck  on  top.  And  there  they  are,  waiting 
for  their  holiday  when  they  may  be  free,  while  Puck  sings — 

A great  while  ago  the  world  began, 

With  hey-ho  the  wind  and  the  rain ; 

But  that’s  all  one,  our  play  is  done, 

And  we  strive  to  please  you  every  day. 

( Twelfth  Night) 

Time:  April  1,  1916.  Midnight  to  sunrise. 

Place:  A green  slope  near  Stratford-on-Avon. 

Cast  of  Characters 

Puck — Midsummer  Night's  Dream. 

A Clown — All's  Well. 

Costard — Love's  Labour's  Lost. 

Two  Clowns — Hamlet. 

AUTOLYCUS  \ tt7-  , » ^7 

Clown  ) Winter’s  Tale. 

Fool — King  Lear. 

Clown  } Twelfth  Night. 

Toochst°NE  } ^ YouLikeIt 

Launcelot  Gob  bo — Merchant  of  Venice. 

Slender — Merry  Wives  of  Windsor. 

Bottom 

Titania  I Midsummer  Night's 
Oberon  | Dream. 

The  Lovers  I 


Fairies  from  Midsummer  Night's  Dream,  The  Tempest,  etc . 

REFERENCES 

The  Fools  of  Shakespeare.  Frederick  Warde. 

Gives  a good  classification  of  fools,  discusses  some  of  the  characters  at 
length,  and  is  good  for  costume. 

Lamb's  Tales  from  Shakespeare.  Charles  and  Mary  Lamb. 

Good  for  getting  the  period  and  nationality  of  the  various  characters. 
Folk-Lore  of  Shakespeare.  Thistleton-Dyer. 

Characters  of  Shakespeare's  Plays.  Wm.  Hazlitt. 

Shakespeare's  Fools.  Eleanor  P.  Hammond. 

Atlantic  Monthly,  1910.  Vol.  106,  pp.  90-100. 

Dictionary  of  British  Folk-Lore.  Alice  Gomme. 

Six  Tunes  from  Play  ford's  Dancing  Master.  Nellie  Chaplin. 

Country  Dance  Book.  Vols.  i and  ii.  Cecil  J.  Sharp. 

Country  Dance  Tunes.  Vols.  i and  ii.  Cecil  J.  Sharp. 

Singing-Games.  Cecil  J.  Sharp. 

Sword-Dances  of  Northern  England.  Cecil  J.  Sharp. 

Sword-Dance  Tunes.  Cecil  J.  Sharp. 

Fifty  Shakespeare  Songs.  Edited  by  Charles  Vincent.  Ditson  & Co. 
Shakespeare  in  Music.  Elson. 


Leontes  ] 

Mamillius  I 

Florizel  > Winter's  Tale. 

Perdita 
Hermione  I 
Shylock  | 

Portia 
Bassanio 
Jessica 
Ann  Page 
Falstaff 

fcT  1 four’s  Lost. 


Lear 

Cordelia 

Hamlet 

Ophelia 

Audrey 

Rosalind 

Orlando 


Merchant  of  Venice. 
Merry  Wives  of  Windsor 
} 

King  Lear. 

Hamlet. 

As  You  Like  It. 


36 


THE  SHAKESPEARE  TERCENTENARY 


Shakespeare  and  Music.  E.  W.  Naylor. 

Leaflets  of  Shakespearean  music  from  Novello,  Ewer  Co. 
Country  dance  tunes — Columbia  and  Victor  Records. 
Dye  and  Dyeing.  Pellew. 

Line  and  Form.  Walter  Crane. 


E.  A SHAKESPEAREAN  FESTIVAL 

INCLUDING  A CELEBRATION  OF  PLOUGH  MONDAY  BY  VILLAGERS 
AND  SCENES  FROM  ONE  OF  SHAKESPEARE’S  PLAYS 

NOTES  FROM  CHAMBERS’  “MEDIAEVAL  STAGE’’ 

A gricultural  Festivals 

“Presence  of  fertilization  spirit  in  visible  and  tangible  form  of  flowers  and  green 
things.’’  “A  large  garland  with  anthropomorphic  representation  of  the  fertilization 
spirit  in  form  of  a doll  parades  the  street  accompanied  by  King  and  Queen.” 

Plough  Monday 

“At  ploughing,  the  driving  of  the  first  furrow  is  attended  with  ritual.” 

“ Oak-decked  dancers  claim  right  to  pass  in  at  one  door  and  out  at  another 
through  every  house  in  the  village.” 

Mimetic  Magic 

“To  achieve  rain,  water  must  be  splashed  about — or  some  other  characteriza- 
tion of  a storm  or  shower  must  be  reproduced.  To  achieve  sunshine,  a fire  must  be 
lit.  Blazing  arrows  shot  in  the  air  or  blazing  torches  carried  about.  Ashes  sprinkled 
over  the  fields. 

Hoxey  Hood 

“A  roll  of  sacking  or  leather;  object,  to  carry  it  to  a public  house  in  own  village. 
Plough  bullocks  or  boggons  led  by  ‘lord  duke’  and  ‘fool’  known  as  Billy  Buck  are 
presiding  officials.  Hood  is  half  of  a bullock,  decapitated  at  a sacrifice.” 

Cast  of  Characters  for  Play  of  Plough  Monday 
The  King  and  Queen  of  the  Festival. 

The  Lord  Duke. 

The  Fool,  or  Billy  Buck. 

Twelve  oak-leaf  dancers  (young  men  or  boys). 

Twelve  young  maidens. 

Eight  sword  dancers. 

Twelve  Morris  dancers — two  teams. 

Twenty  or  thirty  children  of  all  ages. 

Ten  or  twelve  older  men  and  women. 

Robin  Goodfellow. 

Musicians  (fiddlers). 

Band  of  strolling  players. 

Properties 

A large  wooden  plough. 

A large  garland  made  of  new  vegetation,  with  a dressed-up  doll  on  top. 

A stuffed  straw  bullock — one  that  can  easily  be  torn  apart. 

Logs  and  brush  for  firewood,  torches,  etc. 

Order  for  Processional 

Enter  (1)  King  and  Queen,  the  Lord  Duke. 

(2)  The  young  maidens  and  the  oak-leaf  dancers  who  are  bearing  the  plough. 

(3)  The  children  bearing  the  Doll  garland,  accompanied  by  Billy  Buck. 

(4)  The  sword-dancers  bearing  the  bullock,  wood,  torches,  etc. 

(5)  Morris  dancers  and  musicians. 

(6)  Old  people. 

Scene 

An  open  space  on  the  outskirts  of  the  village.  Trees  at  back. 

Time 

Four  o’clock  of  a Monday  afternoon  at  beginning  of  the  ploughing  season. 


THE  SHAKESPEARE  TERCENTENARY 


37 


Synopsis  of  the  Action 

1.  Entrance  of  a band  of  strolling  players,  right,  preceded  by  Robin  Goodfellow 

who  is  invisible  to  them.  He  calls  to  them  tauntingly  to  turn  first  this  way  and 
then  that  way.  They  rush  blindly  after  him  as  he  jumps  around,  following  him 
in  front  of  them,  only  to  hear  his  voice  behind.  Finally  they  follow  him  off, 
left  exit,  and  then  back  on  again,  while  he  laughs  at  them  mockingly.  Per- 
plexed and  muddled  the  players  finally  throw  their  bundles  down  to  the  left  of 
the  center  of  the  stage,  and  an  altercation  ensues  as  to  the  way  to  go.  Robin 
adds  to  the  confusion  by  joining  in.  , 

2.  Enter  the  Processional,  right.  Much  excitement  at  discovery  of  troupe  of 
strolling  players.  The  Lord  Duke  approaches  the  players,  while  the  rest  of  the 
procession  goes  off  to  the  right, the  children  gathering  around  the  Doll  at  the  front 
of  the  stage,  while  others  collect  at  the  right  of  the  stage.  The  players  are  urged 
to  take  part  in  the  ritual  of  the  plough,  to  which  they  willingly  consent.  The  men 
busy  themselves  with  setting  up  the  plough  at  the  rear  of  the  stage.  Robin  all 
this  time  has  been  running  about  among  the  country  people,  tweaking  the  ears 
of  the  men  and  kissing  the  girls,  thus  adding  to  the  uproar. 

3.  The  uproar  ceases  as  the  girls  form  a circle  around  the  plough,  and  the  oak-decked 
dancers  pass  in  and  out  among  them  with  a running  step. 

(Music) 

4.  The  children  meanwhile  have  busied  themselves  setting  up  the  Doll,  and  after 
the  dance  around  the  plough,  they  dance  to  the  fertilization  spirit  which  is  symbo- 
lized by  their  garland. 

Dance — Gathering  Peas  cods.  Music — Cecil  Sharp. 

5.  The  Lord  Duke  brings  up  a huge  trough  of  water  and  solemnly  sprinkles  first  the 
plough,  then  the  Doll,  and  finally  the  worshipers. 

6.  Boys  bring  up  logs  and  kindling  and  start  a fire  near  the  plough.  Arrows  are 
lighted  from  the  fire  and  shot  blazing  into  the  air  by  the  oak-leaf  dancers.  Blazing 
torches  are  carried  about  by  the  sword-dancers. 

7.  As  the  fire  dies  down,  the  bullock  is  brought  forward,  slain,  and  cut  into  pieces. 
Sword-dancers  come  forward  and  perform  a mock  sacrificial  ceremony. 

(Music — Flamborough  Sword-Dance ) 

The  head  of  the  bullock  is  secured  by  Puck,  who  runs  off,  right,  laughing  in  great 
glee,  followed  by  the  fool. 

8.  After  the  sword-dance  the  solemn  part  of  the  ceremony  is  over  and  a lighter  vein 
is  struck  by  the  return  of  the  fool,  disconsolate  at  not  being  able  to  locate  Robin. 
He  suggests  that  the  strolling  players  provide  a play  for  the  entertainment  of  the 
rest  and  he  will  be  the  "hero.  The  players  consent,  but  laugh  at  Billy  Buck  being 
the  hero.  The  players  exit  right  and  left. 

0.  Scenes  from  one  of  Shakespeare’s  plays. 


F.  OUTLINE  FOR  A SHROVETIDE  FESTIVAL 

SHROVETIDE 

1 . Scene  in  hall  of  a great  castle. 

2.  Disguisers  arrive  in  the  hall  with  torch-bearers. 

3.  Performance  of  mumming  of  mystery  play — St.  George  and  the  Dragon. 

4.  The  women  dance,  stand  aside. 

5.  The  men  dance  a morris. 

6.  Men  and  women  dance  together. 

7.  Collecting  of  coins. 

8.  Exit  singing. 

G.  THE  PAGEANT  WAGON 

1.  A street  scene  or  the  open  green  of  the  town. 

2.  The  gathering  of  villagers  to  watch  the  arrival  of  the  Pageant  Wagon.  Songs, 
dancing,  merry-making. 


38 


THE  SHAKESPEARE  TERCENTENARY 


3.  The  approach  of  the  Pageant  Wagon,  a two  or  three-storied  affair  with  actors 
concealed  behind  curtains.  Sometimes  two  wagons — one  representing  a castle 
of  fair  ladies,  one  representing  a ship  with  knights  who  disembark  and  besiege 
the  castle. 

(See  Bibliography  for  plays  for  Pageant  Wagons.) 

4.  Performance. 

5.  End  with  songs  and  cheers. 


H.  AN  INN  YARD 

1.  The  reproduction  of  the  old  inn  yard  of  the  Elizabethan  time.  With  curtained 
platform  erected  at  one  end,  galleries  extending  on  either  side. 

2.  The  audience  to  consist  of  English  townfolk  in  costume  who  arrive  to  witness 
the  performance  of  the  strolling  players  who  have  come  to  the  town.  They 
dance  and  sing  in  the  yard  before  the  performance. 

3.  The  performance  of  a folk-play  or  masque  of  the  period. 

(For  examples  of  early  English  folk-plays  that  show  the  widespread  dramatic 
interest  which  made  possible  the  career  of  Shakespeare,  consult  John  Matthews 
Manly’s  Pre-Shakespeare  Drama,  3 vols.  In  these  volumes  can  be  found 
Warwick  and  Chester  Whitsun  Plays,  Coventry  Plays,  Robin  Hood  Plays,  St. 
George  Plays,  Revesby  Sword  Plays.) 


I.  FORMS  OF  STUDENT  AND  FACULTY  COOPERATION  IN  THE  SCHOOL 

FESTIVAL 

1.  English  and  Speech  Departments. 

Dramatic  action,  dialogue,  and  pantomime. 

2.  Physical  Education  Department. 

Dances — interpretative  and  folk. 

Games,  wrestling,  etc. 

3.  Art  Department. 

Creative  and  research  work  for  costumes,  sketchings,  color  schemes,  stage- 
setting, posters,  programs. 

4.  Music  Department. 

Selection  and  rehearsal. 

School  orchestra. 

5.  Domestic  Art  Department. 

Making  all  costumes. 

Cutting  patterns  and  making  sample  costumes. 

6.  Manual  Training  Department. 

Constructing  stage-setting,  properties,  banners,  etc. 

COMMITTEES  IN  THE  SCHOOL  FESTIVAL 

1.  Central  committee,  consisting  of — 

(a)  Chairman  of  festival. 

( b ) Chairman  of  business  committee. 

( c ) Chairman  of  cast  committee. 

(d)  Chairman  of  costume  committee. 

(e)  Chairman  of  music  committee. 

(f)  Chairman  of  rehearsal  committee. 

(g)  Chairman  of  dance  committee. 

(h)  Chairman  of  decorating  committee. 

2.  Chairman  of  festival. 

Call  meetings  for  reports  of  committees.  Central  source  of  information . 

3.  Business  committee. 

Raise  funds. 

Act  as  treasury. 

Pass  on  budget. 

Pay  bills,  etc. 

4.  Cast  committee. 

Selection  of  cast. 

Coaching. 


THE  SHAKESPEARE  TERCENTENARY 


39 


5.  Costume  committee. 

Composed  of  people  from  art  and  domestic  art  departments. 

(a)  Supervisor  of  research  and  sketching. 

( b ) Supervisor  of  planning  and  cutting  patterns. 

(c)  Supervisor  of  buying  (or  renting). 

( d ) Supervisor  of  distribution  and  inspection. 

( e ) Supervisor  of  accessories  (stage  properties,  etc.). 

6.  Music  committee. 

Training  of  choruses,  etc. 

Training  of  school  orchestra,  or  engaging  outside  orchestra. 

7.  Rehearsal  committee. 

Arrange  and  post  dates  of  rehearsal. 

Arrange  place  of  rehearsal. 

Arrange  for  hall. 

Arrange  for  music  at  rehearsal. 

8.  Dance  committee. 

Working  out,  selection,  and  training  of  dances,  games,  etc. 

9.  Decorating  committee. 

Color  scheme  (in  conjunction  with  costume  committee). 

Decoration  of  hall. 

COMPETITION  IN  THE  SCHOOL  FESTIVAL 

1.  Writing  of  dialogue,  planning  action,  etc. 

2.  Dancing  and  games. 

Boys — Morris  and  sword-dance  teams. 

Games,  wrestling-bouts,  etc. 

Girls — Suggestions  for  dances. 

Group  competition  for  working  out  of  interpretative  dances. 

3.  Designing. 

Costumes. 

Posters,  programs,  stage  models  and  plans. 

4.  Presentation  of  seleted  scenes  by  class  A groups,  and  between  schools  (as  in  de- 

bating contests).  / 

SETTING  OF  THE  SCHOOL  FESTIVAL 

1.  Outdoors. 

A clearing  surrounded  on  three  sides  by  trees  and  shrubs. 

A place  with  a small  knoll  or  embankment  is  desirable  because  it  adds  to  the 
effectiveness  of  the  groupings. 

2.  Indoors. 

Gymnasium  or  hall.  Background  of  trees  and  boughs,  or  curtain  of  some 
neutral  color. 


PART  III 


VARIOUS  FACTORS  THAT  MAY  BE  PROVIDED  FOR  IN  THE  ORGANIZA- 
TION OF  THE  SCHOOL  FESTIVAL 
By  Miss  Mary  Porter  Beegle. 

I.  English  and  speech  in  the  Festival. 

1.  Dramatization. 

A.  Dramatic  action,  dialogue,  and  pantomime. 

(a)  Pure  pantomime,  with  or  without  musical  accompaniment. 

(b)  Pantomime,  with  dance  and  song. 

(c)  Pantomime,  with  dialogue. 

(d)  Pantomime  supplement,  with  descriptive  reading. 

(e ) Dialogue  and  gesture. 

Note. — Pantomime  is  the  foundation  of  dramatic  art.  The 
capacity  for  mimicry  and  gesture  should  be  encouraged  before 
dialogue  is  required.  Pure  pantomime  should  be  used  for 
groups  with  active  imaginations.  Combinations  of  speech, 
pantomime  dances  and  songs  are  easier  for  the  majority  of 
groups.  A teacher  should  understand  the  limits  of  normal 
dramatic  accomplishments  at  a given  age.  She  should  have 
a sympathetic  appreciation  of  the  child’s  view  and  be  quick  to 
see  the  value  of  spontaneous  expression.  She  should  seize  the 
dramatic  point  in  a situation  and  make  permanent  that  which 
is  most  worth  while. 

Pantomime  and  Dialogue. 

(1)  Primary  and  elementary  grades. 

a.  For  very  young  children  the  story  should  be  read  or 
told  dramatically  by  the  teacher,  emphasis  being 
placed  on  the  important  details  of  action. 

b.  The  class  then  retells  the  story. 

c.  Next,  it  is  roughly  acted  out  to  get  the  general  move- 
ment. Dialogue  develops  simultaneously  with  the 
action.  It  should  vary  with  first  rehearsals  and 
should  not  be  written  down  until  well  formulated. 

> d.  Finally,  writing  the  dialogue,  selecting  verse,  song 

and  dance.  (For  very  young  children  the  dialogue 
is  written  by  the  teacher  at  the  dictation  of  the 
children. 

e.  The  complete  dramatization  is  a composite. 

(2)  Grammar  grades. 

Appeal  is  made  to  the  critical  faculties  of  the  child  as 
well  as  the  emotions. 

Preliminary  discussions  of  the  play  should  take  place 
in  class.  The  new  phase  which  occurs  in  writing  dia- 
logue is  the  introduction  of  events  which  took  place  be- 
fore the  present  scene.  There  is  a critical  attitude 
toward  the  delivery  of  lines,  and  a desire  for  cooperation 
and  expression  of  class  spirit. 

Each  child  writes  a scene,  submits  it,  and  the  best 
scene  is  selected  by  the  class. 

References: 

What  is  Pantomime ? G.  Marvin.  Harper's  Week- 
ly, vol.  58,  pp.  24-25,  January  3,  1914. 

Gesture  and  Pantomimic  Action.  Florence  A, 
Adams.  New  York,  1891.  Illustrated. 

“Pantomime:  Its  Place  in  Education  and  Its'Sig- 
nificance  to  the  Arts.’’  Edgerton  Giles.  Craftsman 
Magazine , vol.  7,  pp.  637-46.  New  York,  1910. 

2 . The  production. 

A.  Assigning  of  parts. 

(1)  Trial  for  parts  conducted  by  teacher  and  class  committee. 

(2)  Two  casts  formed,  to  stimulate  interest. 

(3)  All  children  should  be  included,  if  possible,  either  in  cast  or  on 
committees. 


41 


42 


THE  SHAKESPEARE  TERCENTENARY 


B.  Rehearsing. 

(1)  Be  sure  every  child  knows  the  whole  story. 

(2)  Analyze  each  act  and  have  the  pupils  study  the  characters 
Have  them  work  out  the  action  for  each  character  and  the  reac- 
tion upon  the  whole  play. 

(3)  After  analysis  reading  of  parts  should  begin. 

(4)  Work  of  characterization. 

(5)  Reading  of  parts  with  view  to  determining  stage  gestures,  move- 
ments, and  groupings. 

(6)  Use  of  pantomime  and  gesture  should  be  so  carefully  worked  out 
that  they  convey  the  story  without  use  of  words. 

(7)  The  actor  must  know  stage  positions,  business,  and  crossings 
perfectly. 

(8)  Average  number  of  rehearsals  is  from  12  to  15. 

References: 

Actor's  Companion.  C.  F.  Armstrong.  A small  manual 
containing  useful  advice  for  the  inexperienced  actor. 

Art  of  Acting.  F.  F.  Mackay.  New  York,  1910. 

3.  Committees  used  in  production  of  the  School  Festival.  (Committees 
composed  of  teachers  and  students.) 

(1)  Central  Committee. 

Composed  of  the  chairmen  of  all  committees,  whose  duties  are 
to  include  the  general  management  of  the  Festival. 

(2)  Business  Committee. 

^Purpose  is  to  raise  funds,  act  as  treasury,  pass  on  the  budget, 
and  pay  bills.  Should  keep  two  record  sheets — one  for  receipts 
' and  one  for  expenditures.  All  expenditures  should  be  made  by  means 

of  order  slips  procured  from  this  committee  and  recorded  on  the 
appropriate  sheet.  Checking  acounts  should  be  opened  at  a bank 
if  the  expenditure  is  to  be  large.  All  bills  should  be  paid  by  check. 

(3)  Cast  Committee. 

Selection  of  cast. 

Coaching. 

(4)  Costume  Committee. 

Research,  sketching,  planning  and  cutting,  buying,  distribution 
and  inspection. 

(5)  Music  Committee. 

Training  of  choruses,  etc. 

Training  of  school  orchestra  or  engaging  outside  orchestra. 
Selection  or  writing  of  music. 

Copying  and  arranging  of  music. 

(6)  Rehearsal  Committee. 

Arrange  and  post  dates  of  rehearsal. 

Arrange  place  of  rehearsal. 

Arrange  for  hall. 

Arrange  for  music  at  rehearsal. 

(7)  Dance  Committee. 

Working  out,  selection  and  training  of  dances,  games,  etc 

(8)  Decorating  Committee. 

Color  scheme. 

Decoration  of  hall. 

(9)  Wardrobe  Committee. 

Care  of  costumes,  distribution,  cataloguing,  etc. 

II.  Art  in  the  Festival. 

A.  Determine  color  scheme  in  conjunction  with  the  Costume'jCommittee. 

(1)  Construct  a simple  cardboard  stage  model  before  planning  decora- 
tions. Paint  background  in  water-colors. 

(2)  Study  scenario  scene  by  scene.  Group  the  characters  for  the 
largest  tableau,  select  the  central  figures  of  interest,  and  use  these 
as  the  basis  of  the  whole  color  scheme.  Use  samples  of  material 
or  water-colored  paper  figures  upon  model  for  effects. 

(3)  After  desired  colors  are  obtained,  give  exact  samples  to  Costume 
Committee.  Keep  models  and  figures  for  reference. 

B.  Decoration  of  costumes. 

Border  designs,  stencils,  and  patterns  for  enrichment.  Gilding  of 
ornaments,  etc. 


THE  SHAKESPEARE  TERCENTENARY 


43 


C.  Designing  and  painting  of  scenery,  banners,  pennants,  posters,  pro 
grams,  etc. 

Competitions  for  original  work. 


III.  Manual  training  in  the  Festival. 

Construction  of  scenery,  stage-setting,  and  accessories. 


I V.  Costuming  in  the  Festival. 

A.  Points  to  consider: 

(1)  Time  of  day  (with  reference  to  light). 

(2)  Age  and  ability  of  performers. 

(3)  Background. 

(4)  Ix,cation{^°-  . 

(5)  Financial  resources. 

B.  Division  of  work: 

(1)  Research. 

Visits  to  museums,  libraries,  etc. 

(2)  Sketching  and  mounting  on  cardboard.  Historical  examples. 

(3)  Designing. 

(4)  Selection  of  fabrics. 

(5)  Purchasing. 

(6)  Making  or  cutting  patterns. 

(7)  Collecting  old  costumes. 

(8)  Distribution  with  instruction  and  collection  of  money. 

(9)  Inspection. 

(10)  Collection  of  accessories  to  costumes. 

(11)  Renting  of  costumes. 

Definite  contract  for  number  of  costumes  for  rehearsals  and 
performance.  Careful  fumigation. 

C.  Methods  of  preparing  costumes. 

(1)  Cut  and  made  in  sewing  period  or  in  special  period  by  the  children 
who  are  to  wear  them. 

(2)  All  costumes  cut  by  one  person  and  made  by  the  class. 

(3)  Costumes  made  at  home.  Material  purchased  and  prepared  in 
lengths.  Printed  slip  containing  full  instructions  pinned  on. 
It  is  advisable  to  have  a sample  costume  for  parents  to  examine. 

D.  Mistress  of  the  wardrobe. 

Advisable  to  have  a school  wardrobe  and  after  the  Festival  the  children 
may  donate  their  costumes.  These  should  be  kept  in  good  condition 
by  the  Wardrobe  Committee  or  mistress.  The  properties  should  be 
catalogued  under  a card  system.  Nothing  should  be  taken  without  dupli- 
cate slip  being  filed. 

V.  Practical  suggestions  for  color  and  costuming. 

A.  Color. 


« 


B. 


(1)  Always  more  or  less  modified  by  surrounding  colors. 

(2)  Cold  colors:  Greens,  blues,  and  purples. 

(3)  Warm  colors:  Reds,  oranges,  and  yellows. 

(4)  Various  colors  affected  by  lights: 

Red  darkens  in  artificial  light. 

Rose  and  purple  look  brown  in  artificial  light. 

Yellows  and  pinks  become  interchangeable. 

Blues  and  greens  become  interchangeable. 

(5)  Use  cream  white  instead  of  dead  white  for  costumes  and  scenery. 

(6)  The  appeal  of  color  is  emotional. 

a.  Those  having  quiet  effects: 

Low,  uniform  shades  of  any  color. 

b.  Those  having  exciting  effects: 

High  and  contrasting  tints. 

Combinations  of  black  and  white. 

(7)  The  color  scheme  is  modified  by  the  colors  of  the  historical  cos- 
tuming. 

(8)  Color  contrast  aims  at  emphasis. 

Dyeing. 

(1)  Use  Diamond  dyes. 

(2)  Crude  color  boiled  in  small  beakers  until  thoroughly  dissolved. 
Dilute  in  large  vessels  to  shade  desired.  Color  should  be  boiled, 
but  not  the  material. 

(3)  Small  pieces  of  material  should  be  used  to  test  color. 

(4)  Samples  of  exact  shades  should  be  pasted  on  cardboard  for  guides. 


44 


THE  SHAKESPEARE  TERCENTENARY 


(5)  Costume  lengths  or  finished  costumes  rinsed  well  in  water  and 
dipped  in  color,  wrung  loosely,  and  hung  in  the  sun  to  dry. 

(6)  Grotesque  effects  made  by  knotting  the  material. 

(7)  Borders  made  by  tying  in  shot  or  small  blocks  of  wood. 

Reference : 

Dye  and  Dyeing.  Pellew. 

C.  Materials. 

(1)  Cotton  absorbs  light. 

Silk  reflects  light. 

Wool  softens  light. 

(2)  Cheesecloth  and  crepe  good  for  Greek  costumes.  In  draping, 
long  slim  lines  are  best,  with  not  too  much  underclothing. 

(3)  Silkaline  and  silk  mull  good  for  symbolical  figures. 

(4)  Canton  flannel  good  for  dyeing  for  capes. 

(5)  Mosquito  netting  good,  after  boiling  and  dyeing,  for  weird  effects 
in  dark  colors,  or  to  drape  and  soften  brilliant  colors. 

(6)  Costumes  and  scenery  should  be  suggestive  and  simple  rather 
than  elaborate  and  detailed. 

(7)  Costumes  should  be  given  out  early  and  care  taken  to  see  that 
they  are  comfortable  and  well  fitted.  The  children  should  be 
allowed  to  wear  their  costumes  until  they  are  perfectly  familiar 
with  them. 

(8)  Have  the  children  dress  at  home,  leaving  only  slight  changes  and 
make-up  to  be  done  behind  the  scenes. 

D.  Make-up. 

(1)  Outdoors — daylight. 

a.  A little  dry  rouge  put  on  cheeks  with  a piece  of  cotton.  A 
slight  penciling  of  the  eyebrows  with  soft  lead  pencil. 

b.  For  character  parts,  grease  paint  may  be  used  and  picture  of 
character  used  as  guide. 

References: 

Hageman’s  Make-up  Book.  Grease  Paints:  Their  Origin , 
use , and  Application . Chicago,  1898. 

Making-up.  James  Young.  New  York,  1905. 

E.  Backgrounds. 

(1)  Neutral  tinted  hangings. 

Soft  grays  and  greens. 

Unbleached  muslin  or  cheesecloth  thrown  in  double  folds  over 
a framework. 

(2)  Screens  covered  with  wall-paper  make  simple  and  effective  scenery. 

(3)  Different  levels  make  better  grouping  than  a flat  stage. 

(4)  In  arranging  groups,  line  and  form  as  well  as  color  should  be 
produced. 

(5)  Make  a frame  for  the  setting  so  that  the  eye  does  not  wander. 

VI.  Music  in  the  Festival.  One  means  of  embodying  the  spirit  of  the  Festival. 

A.  Used  to  create  the  atmosphere,  deepen  the  dramatic  expression,  and  tide 
over  the  rough  spots. 

B.  Chorus  work  is  an  important  link  between  the  audience  and  the  performers. 
To  be  effective,  it  must  have  some  definite  connection  with  the  production. 

C.  Selection. 

(1)  Interest  the  children  in  singing  for  its  own  sake. 

Revival  of  old  songs,  chants,  ballads,  etc. 

(2)  Unison  singing  is  especially  effective.  Simple  melodic  folk-songs 
should  be  used. 

(3)  Music  should  be  appropriate  to  plot  and  action.  Use  like  color  to 
create  impression  and  atmosphere.  It  assists  in  preparing  the 
mind  for  the  play. 

(4)  If  possible,  have  the  music  suggest  the  locality  and  characters  that 
are  to  follow. 

Example : Dixie  before  a war-time  scene. 

(5)  Care  should  be  taken  to  choose  the  music  with  the  greatest  histori- 
cal significance,  the  most  appropriate,  and  that  which  is  suitable 
for  the  school  facilities. 

(6)  Practical  application: 

Consider  availability  of  instruments,  voices,  orchestra. 
References: 

“How  to  Organize  a School  Orchestra.”  Cogswell.  Musical 
Observer,  July,  1915,  vol.  12,  No.  7. 


THE  SHAKESPEARE  TERCENTENARY 


45 


Simple  orchestration  and  orchestrations  for  a small  orchestra  can 
be  obtained  from  Carl  Fisher,  48  Cooper  Square,  New  York. 

D.  Teaching. 

(1)  Each  teacher  must  know  the  part  the  music  is  to  play  in  the  Festival 
and  impart  to  the  performers  its  emotional  significance.  If  the 
performer  really  feels  the  fitness  of  the  music,  it  will  not  seem 
forced. 

(2)  The  teacher  should  thoroughly  prepare  the  musical  material  to  be 
used  so  that  scores,  books,  notes,  etc.,  are  unnecessary. 

(3)  Produce  the  atmosphere  of  a song  before  beginning  the  actual  drill- 
work.  Keep  the  students  interested  in  perfecting  the  music  up  to 
the  time  of  the  performance. 

E.  Teaching  of  singing-games. 

(1)  Singing-games  are  preserved  by  oral  tradition  and  contain  much 
that  is  peculiar  and  attractive  to  children. 

(2)  They  stimulate  the  dramatic  and  mimetic  faculties.  These  songs 
are  based  on  simple  rhythms  that  lie  within  the  range  of  the  child's 
experience,  and  their  expression  should  be  individual. 

(3)  They  should  be  taught,  if  possible,  without  musical  accompaniment. 

(4)  Clear  enunciation  is  of  particular  importance. 

VII.  Dances,  games  and  competition  in  the  Festival. 

A.  Interpretative  dancing. 

Let  movements  be  natural  instead  of  artificial.  The  standard  set  for 
the  perfection  of  technique  should  be  based  on  the  child's  ability,  not  the 
finished  product  that  pleases  the  adult.  A wholesome  response  from  the 
child  is  the  aim. 

Muscular  control  and  perfection  of  movement  come  only  with  practice. 
All  movements  should  express  the  spirit  or  idea  of  dance,  not  aimless 
movements  for  mere  beauty's  sake,  but  the  interpretation  of  an  idea  or  an 
emotion. 

The  teacher  must  enter  fully  into  the  spirit  of  the  dance  both  physically 
and  mentally.  She  must  create  the  atmosphere  that  inspires  the  child  s 
interpretation.  * 

(1)  Explain  the  story  of  the  dance,  suggesting  movements  of  the  differ- 
ent characters. 

(2)  Have  suggestive  music  played  while  the  children  listen.  Ask  them 
to  dance  out  the  story  of  the  dance  or  music. 

(3)  With  appropriate  music,  practice  walking,  running,  and  leaping 
movements.  Emphasize  rhythm.  Insist  upon  upward  actions  of 
the  body;  strive  for  lightness,  buoyancy,  and  poise.  Keep  the  imag- 
ination of  the  class  stimulated  by  exercises  personifying  wind, 
water,  birds,  fairies,  clowns,  goblins,  etc.  Construct  the  dance  with 
the  class.  Have  them  suggest  movements.  Work  out  the  number 
of  steps  to  the  music,  exits,  entrances,  climax. 

B.  Folk-dancing. 

Strive  for  clear-cut  expression.  Do  not  alter  for  simplicity.  Select 
material  appropriate  to  age.  Insist  upon  accuracy. 

References: 

Country  Dance  Book,  vols.  iandn.  Country  Dance  Tunes,  vols.  i-iv. 

Morris  Dance  Book.  Morris  Dance  Tunes.  Sword-Dances  of  Northern 

England.  Sword-Dance  Tunes.  Singing-Games  {English).  Cecil  J. 

Sharp. 

Popular  Folk-Games  and  Dances.  Mari  Hofer. 

Music  in  the  Child  World.  Mari  Hofer. 

Folk-Dances  and  Singing-Games.  Elizabeth  Burchenal. 

Folk-Dances  of  the  People.  Elizabeth  Burchenal. 

Folk-Dances  and  Games.  Caroline  Crawford. 

The  Folk-Dance  Book.  C.  Ward  Crampton. 

Play  Songs.  Alys  E.  Bentley. 

Old  Country  Dances  and  Morris  Tunes.  Frank  Kidson. 

Cogswell's  Guild  Book  of  Play.  G.  T.  Kimmins. 

C.  Games  and  competitions. 

(1)  Sword-bouts,  single-sticks,  wrestling,  etc. 

(2)  Competitions  for  boys. 

Morris  and  Sword-dance  teams. 

(3)  Competition  for  girls. 

Interpretative  dances. 


PART  IV 


THE  TREATMENT  OF  SHAKESPEARE’S  PLAYS  FOR 
SCHOOL  PURPOSES 

By  Dr.  Wm.  E.  Bohn,  Ethical  Culture  School,  New  York  City 

A.  INTRODUCTORY 

Shakespeare  was,  above  all.  a player  and  playwright.  He  lived  at  his  best  in 
the  acted  scene.  We  can  honor  him  most  fittingly  by  acting  his  plays;  not  by  seeing 
them  acted,  but  by  acting  them.  It  is  in  studying  them  with  a view  to  making 
their  full  beauty  felt  that  we  gain  the  deepest  insight  into  them.  It  is  thus  that  we 
live  in  Shakespeare’s  world,  get  the  atmosphere,  the  color,  the  music,  the  ideas  of  it. 

This  applies  especially  to  the  young.  For  the  most  part,  Shakespeare  must 
mean  to  them  life,  movement,  and  the  music  of  the  spoken  word — or  nothing. 
It  is  through  these  that  he  appealed  to  the  stirring,  youthful  age  of  Elizabeth,  and 
through  these  that  he  must  continue  to  live  for  normal  youthful  humankind. 

As  for  the  meaning  of  the  plays,  it  can  best  be  approached  as  the  unifying,  life- 
giving  spirit  at  the  heart  of  a performance.  Before  a youth  can  exclaim  with  fear, 
“How  sharper  than  a serpent’s  tooth  it  is  to  have  a thankless  child!”  he  must  do 
some  exploring  in  his  own  heart  and  in  Shakespeare’s  world. 

Out  of  these  considerations  grow  two  points  which  we  should  bear  in  mind  while 
assisting  in  the  preparation  for  Shakespeare  performances.  In  all  the  joyousness 
of  Elizabethan  vitality  we  must  not  forget  that  at  the  heart  of  every  play  there  is 
an  idea,  or  a whole  set  of  ideas.  When  we  are  cutting  a play  for  performance,  as 
we  nearly  always  have  to  do  in  schools  and  clubs,  let  us  do  it  in  such  a way  as  to 
keep  the  idea  intact  and  to  emphasize  it,  simplify  it,  rather  than  obscure  it.  At 
•every  point  the  stage-manager,  scene-painters,  dancers,  singers,  and  actors  should 
be  concerned  with  making  this  idea  “carry  over.” 

But  let  the  performance  be  as  rich  as  we  can  make  it  in  appeal  to  eye  and  ear — 
in  setting,  costumes,  singing,  dancing.  If  these  serve  the  high  purpose  of  the  play, 
let  our  young  people  glory  in  them.  Shakespeare  is  not  Shakespeare  without 
Elizabethan  music,  and  the  English  folk-dances,  now  happily  known  to  many,  will 
do  much  to  bring  us  nearer  to  Puck  and  all  his  crew. 

For  performances  conceived  in  this  spirit  the  following  arrangements  have 
been  made,  The  same  method  can,  of  course,  be  applied  to  others  of  Shakespeare’s 
plays  than  those  here  selected.  And  in  the  case  of  these  plays  much  perforce  must 
be  and  has  been  left  to  the  taste  and  skill  of  the  director.  Performances  of  various 
lengths  will  be  desired,  and  outdoor  performances  will  require  different  arrangements 
from  those  given  indoors.  What  the  editor  has  had  in  mind  is  an  indoor  performance 
of  about  an  hour  in  length  to  be  given  by  boys  and  girls  under  20  years  of  age. 

B.  SUGGESTED  ABBREVIATIONS  OF  PLAYS  FOR  AN  HOUR’S 
PERFORMANCE 

A Midsummer  Night's  Dream 

Here  we  have  three  groups  of  characters  and  four  plots.  The  theme  is  the 
entangling  and  disentangling  of  human  affairs  by  the  mischievous  or  helpful  inter- 
ference of  the  fairies.  The  athenian  lovers  are  in  distress  because  of  the  starts 
and  crosses  of  love.  The  tradesmen  get  into  difficulty  because  of  the  stupidity 
bom  of  their  way  of  life.  To  embody  the  theme  at  all  we  must  retain  the  fairy  group 
and  at  least  one  group  of  humans.  The  mGst  satisfactory  arrangement  is  to  omit 
the  lovers.  We  have,  then,  the  sharp  contrast  between  rude  mechanicals  and  the 
lovely  fairy  folk.  If  the  first  lines  of  Act  I,  Scene  1,  are  retained  we  can  have  the 
“tedious  brief  scene”  of  Pyramus  and  Thisbe  at  the  end.  This  plan  eliminates 
some  not  too  desirable  love-making  and  gives  us  most  of  the  fun  and  poetry. 

The  following  are  the  scenes  to  be  performed: 

Act  I,  Scene  1,  to  the  entrance  of  Egeus. 

Scene  2. 

Act  II,  Scene  1,  omit:  (1)  Titania’s  speech,  “Set  your  heart  at  rest,”  except  the 
first  two  lines;  (2)  passage  from  the  entrance  of  Demetrius  to  the 
reentrance  of  Puck;  (3)  the  last  nine  lines  of  Oberon’s  final  speech 
to  Puck. 

Scene  2,  to  the  entrance  of  Ly sander  and  Hermia. 

Act  III,  Scene  1,  omit  final  speech  of  Titania. 

Act  IV,  Scene  1,  to  the  line,  “And  rock  the  ground  whereon  these  sleepers  lie.” 

47 


48 


THE  SHAKESPEARE  TERCENTENARY 


Act  V,  Scene  1 , beginning  with  the  speech,  “ Come  now,  what  masquers,  what 
dances  shall  we  have?”  Play  without  omisson  to  the  words, 
“and  very  notably  discharged,”  in  Theseus’  final  speech. 
Omit  to  the  entrance  of  Puck.  Play  from  this  point  up  to  the 
dance  of  the  fairies.  Conclude  with  the  speech  of  Puck. 

Twelfth  Night 

Twelfth  Night  is  a play  of  love.  Yet  so  delicately,  so  beautifully  is  the  major 
passion  treated  that  this  play  is  peculiarly  suited  to  the  needs  and  interests  of  boys 
and  girls.  If  they  are  to  get  the  most  out  of  it,  the  scenes  should  be  chosen  and 
rehearsed  with  a view  to  showing  tb  nfolding  of  the  character  of  Viola.  The 
grotesque  pretentions  of  Malvolio  and  i riotous  fun  of  Sir  Toby  must  be  definitely 
subordinated.  The  necessary  abbreviate  can  be  effected  by  eliminating  the  scenes 
having  to  do  with  Antonio  and  Sebastian. 

The  following  are  the  scenes  to  be  performed  in  accordance  with  this  plan: 

Act  I,  Scene  1. 

Scene  2. 

Scene  4. 

Scene  5,  beginning  with'  Olivia’s  speech,  “Give  me  my  veil,”  and  con- 
tinuing to  the  reentrance  of  Malvolio. 

Act  II,  Scene  1. 

Scene  3,  to  the  exit  of  Maria. 

Scene  4. 

Scene  5. 

Act  III,  Scene  1,  beginning  with  Viola’s  speech,  “My  duty,  madam,  and  most 
humble  service.” 

Scene  4,  play  to  the  line,  “No  worse  man  than  Sir  Toby  to  look  to  me?” 
Exit  Malvolio.  Enter  Sir  Toby.  Close  the  scene  with  the 
sentence,  “Come,  we’ll  have  him  in  the  dark  room.” 

Act  IV,  Scene  1,  use  the  opening  speech  of  clown  and  the  answer  of  Sebastian; 
then  omit  up  to  Olivia’s  line,  “Will  it  be  ever  thus?” 

Scene  2. 

Scene  3. 

Act  V,  Scene  1,  begin  with  the  Duke’s  speech,  “Here  comes  the  Countess.” 

Omit  from  Olivia’s  line,  “O.  do  not  swear,”  to  the  entrance  of 
Sebastian.  Omit  the  first  three  lines  of  Sebastian's  speech  and 
change,  “ I do  perceive  it  both  offended  you  ” to  “ I do  perceive  I have 
offended  you.”  Omit  from  reentrance  of  the  clown  to  the  reen- 
trance of  Fabian.  Speak  only  three  lines  of  Olivia’s  speech, 
“Alas,  Malvolio,”  and  omit  up  to  the  clown’s  speech,  “Why,  some 
are  born  great.”  Omit  reference  to  the  captain  in  the  Duke’s 
final  speech. 


Merchant  of  Venice 

The  Merchant  of  Venice  must  be  played  as  a supreme  combination  of  tragedy 
and  romance.  Shylock,  deformed  by  persecution  and  cunning  hate,  must  be  the 
chief  figure.  The  lovely  romance  which  centers  about  Portia  must  be  conceived  in  a 
contrasting  key.  In  Belmont  is  a world  where  all  goes  well.  And  the  two  worlds  are 
finally  brought  together  in  the  great  court  scene.  The  elopement  of  Jessica  and  the 
ring  plot  can  be  omitted  without  marring  the  essential  features  of  the  play. 

The  following  are  the  scenes  to  be  performed  according  to  this  plan : 

Act  I,  Scene  1,  beginning  with  Antonio’s  speech,  “Well!  tell  me  now.” 

Scene  2.  omit  from  the  end  of  Nerissa’s  speech,  “Your  father  was  ever  vir- 
tuous,” to  Portia’s  words,  “I  am  glad  this  parcel  of  wooers  are  so 
reasonable.” 

Scene  3,  omit  from  Shy  lock’s  words,  “ I had  forgot — three  months,”  to  the 
beginning  of  his  speech,  “Three  thousand  ducats.” 

Act  II,  Scene  7,  play  without  curtain. 

Scene  9,  play  without  curtain 
Act  III,  Scene  2, 

Scene  4,  from  Portia’s  words,  “Now,  Balthasar,”  to  the  end  of  her  speech, 
“They  shall,  Nerissa.” 

Act  IV,  Scene  1,  to  the  end  of  Portia’s  speech,  “He  is  well  paid.” 

As  You  Like  It 

Any  performance  of  A s You  Like  It  should  embody  the  spirit  of  Arden.  This  is 
a play  of  beauty  and  of  wisdom.  The  plot  is  ridiculous,  but  nobody  cares  one  whit. 


THE  SHAKESPEARE  TERCENTENARY 


49 


We  must  somehow  get  our  people  clear  of  the  envious  court  and  into  that  enchanted 
land  where  there  is  good  to  be  found  in  everything;  and  we  must  somehow  bring 
our  play  to  a close.  So,  we  need  a plot.  But  the  important  thing  is  the  life  free  from 
peril,  but  filled  with  quaint  devices  and  wealth  of  wise  saws.  This  is  what  we  must 
put  upon  the  stage  in  any  performance  of  the  play. 

The  following  scenes  have  been  selected  with  this  point  in  view: 

Act  I,  Scene  3. 

Act  II,  Scene  1. 

Scene  3. 

Scene  4. 

Scene  5.  Xj  \r; 

Scene  7. 

Act  III,  Scene  2.  , 

Act  IV,  Scene  1. 

Scene  3. 

Act  V,  Scene  2. 

Scene  4,  omit:  (1)  from  Touchstone’s  speech,  “If  any  man  doubt  that,”  to 
Jacques’  speech,  “Is  not  this  a rare  fellow?”  (2)  the  part  of  Hy- 
men; (3)  from  Phebe’s  speech,  “I  will  not  eat  my  words,”  to  the 
Duke’s,  “Proceed,  proceed;”  (4)  the  Epilogue. 

The  Tempest 

In  performing  The  Tempest  we  must  embody  a temper,  a spirit,  an  attitude  of 
mind.  The  play  is  really  concerned  with  the  sunshine  after  the  tempest,  with  the 
world  coming  right  to  the  accompaniment  of  fairy  music.  Caliban  suggests  depths  of 
tragedy  beneath  this  smooth-running  universe,  but  his  threats  never  seriously  dis- 
turb the  smooth  current  of  events  m the  upper  air.  In  the  following  arrangement 
Prospero,  Miranda,  Ferdinand  and  Ariel  are  the  only  important  characters.  Alonso, 
Sebastian,  and  Antonio  are  subordinated.  The  thought  has  been  that  the  performers 
would  gain  most  from  the  gentle  innocence  of  Miranda  and  the  lyric  sweetness  of 
Ariel.  So  the  play  has  been  made  to  center  about  them. 

The  follow  ng  are  the  scenes  to  be  performed: 

Act  I,  Scene  2.  Omit  from  Caliban’s  words,  “Toads,  beetles,  bats,  light  on  you!” 
to  ‘ ‘ you  taught  me  language.  ’ ’ 

Act  III,  Scene  1. 

Act  V,  Scene  1.  Omit  the  reference  to  the  treason  of  Sebastian  and  Antonio  and 
that  to  the  purpose  of  the  voyage  of  Alonso. 

If  a more  ambitious  performance  is  desired,  it  can  be  obtained  by  adding  the 
comic  scenes,  Act  II,  Scene  2,  and  Act  III,  Scene  2,  in  their  places.  From  several 
points  of  view  it  is  preferable  to  play  these  scenes  if  there  is  time  for  them.  Whether 
any  boy  or  young  man  not  a professional  actor  should  be  asked  to  play  the  part  of 
Caliban  is  a moot  question. 

Richard  III 

This  play  is  a supreme  melodrama.  The  characteristic  scenes  are  as  thrilling 
as  the  most  hair-raising  moving-picture  show.  They  make  a strong  appeal  to  many 
who  are  not  of  the  literary  sort.  And  though  the  play  is  full  of  crude  horrors,  the 
morality  of  it  is,  in  the  main,  sound,  and  there  are  passages  of  fine  beauty. 

Many  passages  are,  of  course,  entirely  unsuited  to  performance  by  young  people. 
But,  omitting  all  of  these,  it  is  possible  to  present  the  character  of  Richard  as  revealed 
in  two  great  crimes  and  in  his  tragic  end. 

The  following  are  the  scenes  selected  for  performance : 

Act  I,  Scene  1.  Omit:  (1)  from  Clarence’s  words,  “As  yet  I do  not,”  to  Gloster’s 
speech,  “Well,  your  imprisonment”;  (2)  the  part  of  Hastings. 
Connect  the  parts  of  Gloster’s  speeches  before  and  after  the  dia- 
logue with  Hastings.  Immediately  after  the  line,  “ If  heaven  will 
take  the  present  at  our  hands,”  will  come  the  line,  “I’ll  urge  the 
King’s  own  hatred  more  to  Clarence.” 

Scene  3.  Begin  with  Gloster’s  line,  “What!  threat  you  me  with  telling  of  the 
King?”  Omit  references  to  characters  and  incidents  not  included 
in  the  performance  and  cut  down  Margaret’s  curses  according  to 
taste. 

Scene  4,  beginning  with  entrance  of  the  Murderers. 

Act  II,  Scene  3. 

Act  IV,  Scene  2.  Play  only  the  dialogues  between  King  Richard  and  the  page,  and 
between  King ‘Richard  and  Tyrrel. 

Scene  3,  to  entrance  of  Ratcliff. 


50 


THE  SHAKESPEARE  TERCENTENARY 


Scene  4.  Have  the  women  go  off  at  the  sound  of  the  King’s  trumpet.  The 
King  enters  on  one  side  and  Ratcliff  on  the  other.  The  scene  goes 
on  from  the  line,  “How  now!  what  news?”  and  continues  to  the 
exit  of  Catesby. 

Act  V,  Scene  3.  The  only  ghosts  to  appear,  of  course,  will  be  those  of  Clarence  and 
the  two  young  Princes. 

Scene  4. 

Scene  5. 

Julius  Ccesar 

For  some  groups  of  boys  Julius  Ccesar  is  the  very  best  of  Shakespeare’s  plays. 
The  big,  clear  appeals  to  honor  and  courage  rouse  instant  response  in  many  who  are 
left  cold  by  the  poetic  beauties  of  other  plays.  To  be  sure,  there  are  difficulties. 
Under  ordinary  circumstances  the  murder  scene  and  the  ghost  scene  ought  not  to  be 
played.  This  may  seem  like  omitting  the  mainspring  of  the  action.  In  the  Forum 
scene,  however,  the  murder  is  adequately  described,  and  the  little  dialogue  between 
Portia  and  Lucius  suggests  very  pointedly  what  is  going  forward  in  the  Senate  House. 
The  chief  idea  to  be  developed  is  the  contrast  between  the  characters  of  Brutus  and 
Cassius  as  exhibited  in  the  planning  of  a great  crime,  the  commission  of  it,  and  meet- 
ing its  consequences. 

The  following  are  the  scenes  to  be  played  to  bring  out  this  contrast : ' 

Act  I,  Scene  2. 

Act  II,  Scene  1,  to  the  breaking  up  of  the  Council  of  Conspirators. 

Scene  4. 

Act  III,  Scene  2. 

Act  IV,  Scene  1. 

Scene  3,  to  the  entrance  of  the  Poet. 

Act  V,  Scene  1. 

Scene  2. 

Scene  3,  to  Titanius’  speech,  “No,  this  was  he.” 

Scene  4.  No  curtain. 

Scene  5,  beginning  with  the  entrance  of  Octavius. 

With  slight  modifications  the  splendid  scene  between  Brutus  and  Portia  can  be 
added  to  Act  II  if  desired. 


King  Lear 

King  Lear  is  one  of  the  most  terrible  and  difficult  of  Shakespeare’s  tragedies. 
But  its  theme  has  a peculiar  interest  for  boys  and  girls  approaching  manhood  and 
womanhood.  It  is  our  classic  study  of  filial  obedience  and  reverence.  And  the  chief 
characters  are  so  simple  that  they  are  quickly  grasped  and  the  impersonation  of  them 
is  undertaken  with  hearty  delight. 

It  is  comparatively  easy  to  cut  this  play  in  such  a way  as  to  make  the  issues 
extremely  clear.  Attention  must  be  centered  on  old  Lear’s  terrible  mistake  and  its 
results  as  worked  out  in  the  actions  of  the  three  daughters.  Gloster  and  Edmund 
may  well  be  eliminated.  The  part  of  the  fool  will  naturally  be  made  much  of,  but 
great  care  must  be  taken  to  have  this  part  sympathetically  done. 

The  following  arrangement  is  easily  manageable: 

Act  I,  Scene  1,  beginning  with  the  entrance  of  Lear. 

Scene  3.  No  curtain. 

Scene  4 . Play  up  to  Lear’s  line,  ‘ ‘ Saddle  my  horses ! Call  my  train  together ! ’ ’ 
Omit  to  Albany’s  speech,  “Woe,  that  too  late  repents.”  Use  only 
first  and  last  lines  of  Lear’s  curse  on  Goneril.  Close  the  scene  with 
the  fool’s  rhyme,  “A  fox,  when  one  has  caught  her,  etc.” 

Act  II,  Scene  4. 

Act  IV,  Scene  4. 

Scene  7.  Close  with  Lear’s  words,  “I  am  old  and  foolish.” 

This  arrangement  profoundly  alters  the  character  of  the  play.  Without  the  in- 
trigue of  Edmund  and  without  the  tragic  ending  Lear  is  not  Lear.  But  all  experience 
goes  to  show  that  non-professional  actors  had  better  be  content  with  this  much  of  the 
play.  They  will  get  from  this  the  chief  thought  if  not  the  deepest  tragic  feeling. 

Those  who  wish  to  venture  on  a performance  of  the  final  cataclysm  can  do  so  on 
a scale  commensurate  with  the  plan  outlined  above  by  adding  parts  of  Act  V,  Scene  3. 
Begin  at  the  beginning  and  play  up  to  the  entrance  of  Albany.  Omit  to  the  entrance 
of  Kent.  Include  Kent’s  question  and  Albany’s  answer.  Omit  to  the  re-entrance 
of  Lear.  Play  without  further  omission  to  the  end. 


THE  SHAKESPEARE  TERCENTENARY 


51 


Macbeth 

Scenes  from  Macbeth  can  be  performed  by  young  people — and  very  effectively 
performed.  Whether  it  is  wise  to  attempt  them  depends  entirely  on  the  presence  of 
a girl  capable  of  realizing  the  part  of  Lady  Macbeth  Given  such  a girl,  a company 
of  young  people  can  make  Macbeth  the  most  effective  of  all  Shakespeare  performances. 

Whatever  plan  is  used  in  the  production  of  the  stage  version,  one  thing  is  inevit- 
able; the  presentation  will  consist  of  three  parts:  the  preparation  for  the  crime;  the 
crime  itself;  and  the  results  of  the  crime.  The  feeling  must  be  deeply  serious  from 
beginning  to  end. 

The  most  satisfying  arrangement  results'  in  a performance  which  falls  within 
thirty  minutes. 

Act  I,  Scene  5.  No  curtain.  Omit  last  two  speeches. 

Scene  7. 

Act  II,  Scene  1,  beginning  with  Macbeth’s  speech,  “ Is  this  a dagger?”  No  curtain. . 

Scene  2. 

Act  V,  Scene  1. 

Scene  5. 

This  simple  arrangement  is  most  satisfactory  because  it  excludes  the  chief  points 
of  danger.  The  witches’  scenes,  the  revelation  scene,  and  the  banquet  scene  abound 
in  pitfalls  for  inexperienced  performers.  The  first  witches’  scene,  consisting  of  Act  I, 
Scenes  1 and  3,  run  together,  can  be  well  performed,  but  we  are  all  so  familiar  with 
various  parodies  of  it  that  it  is  only  with  the  greatest  skill  and  emotional  power  that 
the  lines  can  be  recited  without  some  spirit  of  burlesque. 

An  excellent  performance,  more  ambitious  than  the  one  outlined,  can  be  obtained 
by  adding  to  the  scenes  mentioned:  (1)  the  first  witches’  scene;  (2)  the  scenes  con- 
nected with  the  murder  of  Banquo,  Act  III,  Scenes  1,  2,  and  3;  (3)  the  banquet  scene, 
Act  III,  Scene  4.  The  revelation  scene,  Act  II,  Scene  3,  ought  never  to  be  per- 
formed by  any  except  trained  actors. 


PART  V 

BIBLIOGRAPHIC  AIDS  IN  THE  STUDY  AND  STAGING  OF 
SHAKESPEARE’S  PLAYS 

By  H.  H.  B.  Meyer 

Chief  Bibliographer , Library  of  Congress , Washington , D.  C. 


THE  READING  AND  STUDY  OF  SHAKESPEARE 

The  best  way  to  study  Shakespeare  is  to  read  the  plays  rather  than  the  com- 
mentators. This  is  not  a difficult  matter,  as  an  abundance  of  experience  will  testify. 
There  are  obscure  passages  in  most  of  the  plays,  but  they  are  never  in  sufficient 
number,  nor  so  long  as  to  interfere  with  an  understanding  of  the  plot  or  the  develop- 
ment of  the  characters.  Besides,  a good,  brief  glossary  will  remove  most  of  these 
difficulties.  Even  the  most  youthful  beginner  is  assured  of  a good  story  with  plenty 
of  dialogue,  and  that  corresponds  pretty  closely  to  the  small  boy’s  definition  of  an 
interesting  tale. 

There  is  an  endless  variety  of  editions  of  Shakespeare,  printed  in  every  possible 
size  of  type,  on  all  grades  of  paper,  in  volumes  of  every  size,  shape,  and  style  of 
binding,  and  suited  to  every  grade  of  purse.  From  among  these  many  editions 
the  three-volume  Oxford  edition  is  suggested  for  general  use,  as  combining  more 
good  qualities  than  any  other  cheap  edition  on  the  market.  The  set  consists  of 
three  volumes:  Comedies,  Histories  and  Poems,  and  Tragedies,  costing  60  cents 
each.  The  volumes  are  well  printed  in  the  usual  good  style  of  the  Clarendon  press, 
in  a large,  clear  type,  the  paper  and  binding  of  good  quality  in  spite  of  the  low  price. 
There  is  an  introduction  to  each  play  by  Professor  Dowden,  and  each  volume  is 
supplied  with  a glossary  at  the  end. 

Another  good  cheap  edition  is  that  in  the  Everyman’s  Library,  in  three 
volumes.  The  type  is  large  and  clear;  the  paper,  however,  is  not  quite  opaque 
enough,  and  the  margins  are  cut  very  narrow,  but  considering  the  price,  35  cents 
per  volume,  they  are  wonderful  little  books.  Each  volume  contains  a glossary, 
but  there  are  no  introductions. 

The  single  volume  editions  are  usually  printed  in  type  so  small  as  to  be  read 
with  difficulty.  Of  the  many  volumed  editions,  those  giving  a play  to  a volume  are 
the  handiest  and  most  useful.  The  Temple  Shakespeare,  the  Tudor  Shakespeare, 
and  the  editions  edited  by  Rolfe  and  by  Hudson  are  of  this  character.  Information 
concerning  these  and  other  editions  will  be  found  in  H.  H.  B.  Meyer’s  “Brief  Guide 
to  Shakespeare  Literature,”  prepared  at  the  request  of  the  Drama  League  of  America 
and  just  published  by  the  American  Library  Association  Publishing  Board,  78 
East  Washington  Street,  Chicago,  at  50  cents  per  copy. 

Of  the  many  biographies  of  Shakespeare,  Sir  Sidney  Lee’s  will  probably  be  found 
most  useful,  for  both  the  general  reader  and  the  scholar.  A new  edition  has  just 
appeared,  thoroughly  revised  and  enlarged,  and  embodying  the  results  of  the  latest 
researches,  price  8s.  6d.  The  briefer  biography  written  by  Oliphant  Smeaton  for 
the  Everyman’s  library  is  also  worthy  of  special  mention.  Its  treatment  of  the 
separate  plays  is  excellent  for  the  beginner. 

Comment  and  criticism  on  Shakespeare  have  grown  to  the  dimensions  of  a 
library  in  themselves;  “The  Brief  Guide  to  Shakespeare  Literature”  referred  to  above 
attempts  to  point  out  the  most  useful  books. 

PLAYS  ARRANGED  FOR  CHILDREN 

A number  of  Shakespeare’s  plays,  arranged  for  presentation  by  children  or  young 
people,  have  been  published.  These  have  been  issued  in  two  series,  one  known  as 

53 


54 


THE  SHAKESPEARE  TERCENTENARY 


■“The  Ben  Greet  Shakespeare  for  young  readers  and  amateur  players,”  published 
at  Garden  City,  N.  Y.,  by  Doubleday,  Page  & Co.,  at  60  cents  per  volume.  In  this 
series  six  volumes  have  appeared.  The  other  series  has  the  title  “The  Lamb  Shake- 
speare for  the  young.”  It  is  published  in  London  by  Chatto  & Windus,  at  Is.  6d. 
per  volume  (New  York  agents,  E.  P.  Dutton  & Co.,  at  80  cents  per  volume). 

The  following  is  an  enumeration  of  the  plays  in  these  two  series.  The  plays 
treated  by  Dr.  Bohn  (see  Part  IV  above)  are  indicated  by  a letter  B,  G indicating 
that  the  play  is  found  in  the  Ben  Greet  edition,  and  L in  the  Lamb  edition. 


As  you  like  it 

G 

L 

B 

Comedy  of  errors 

G 

Cymbeline . . . 

L 

Tulius  Caesar 

G 

B 

King  Lear 

B 

Macbeth 

L 

B 

Merchant  of  Venice 

G 

L 

B 

Midsummer  night’s  dream 

G 

L 

B 

Much  ado  about  nothing . . 

L . . . . 

Richard  III 

B 

Romeo  and  Juliet 

L 

Tempest 

G 

L 

B 

Twelfth  night 

L 

B 

Winter’s  tale 

....  L .... 

COSTUMING  AND  STAGING 

Printed  information  on  costuming  and  staging  is  rather  meager.  The  Ben 
Greet  editions  contain  full  and  simple  directions  for  the  six  plays  included.  Many 
inquirers  approach  the  subject  with  little  or  no  knowledge.  These  will  find  the  books 
hy  Constance  Mackay,  G.  W.  Rhead,  and  Melicent  Stone  the  most  helpful.  A few 
references  to  important  illustrated  editions  of  Shakespeare  are  included,  as  these 
frequently  give  valuable  hints  on  costuming. 

A series  of  articles  by  Ed.  W.  Godwin  on  “The  architecture  and  costume  of 
Shakespeare’s  plays”  was  printed  in  The  Architect,  London,  1874-6,  vols.  12,  13 
and  16.  In  1908-1910  a similar  series  by  the  same  writer  appeared  in  The  Mask, 
London. 

Ashdown,  Emily  J.  British  costume  during  xix  centuries  (civil  and  ecclesiastical) 

. . . Illustrated  with  459  engravings  in  the  text,  110  plates,  and  9 coloured 
reproductions  . . . London  and  Edinburgh,  T.  C.  & E.  C.  Jack,  1910.  376  p. 

Calthrop,  Dion  C.  English  costume.  London,  A.  and  C.  Black,  1906.  4 v. 

illus.  plates. 

Costuming  Shakespeare.  Literary  digest,  Mar.  9,  1912,  v.  44:  484. 

Gallery  of  Shakespeare  illustrations,  from  celebrated  works  of  art.  Boston,  Little 
Brown  & Co.,  [1909].  12  p.  90  pi.  3 port. 

Hartmann,  Sadakichi.  Shakespeare  in  art.  Boston,  L.  C.  Page  & Co.,  1901  [1900], 
371  p.  plates,  ports.  (Art  lovers’  series.) 

Bibliography:  p.  355-358. 

Heath,  Charles.  The  Shakespeare  gallery;  containing  the  principal  female  characters 
in  the  plays  of  the  great  poet.  . . London,  C.  Tilt  [1836-37] . 48  1.  44  pi. 

Hill,  Georgiana.  A history  of  English  dress  from  the  Saxon  period  to  the  present 
day.  New  York,  G.  P.  Putnam’s  Sons,  1893.  343  p. 

Konewka,  Paul.  Falstaff  and  his  companions.  Twenty-one  illustrations  in  sil- 
houette. Tr.  by  C.  C.  Shackford.  Boston,  Roberts  Bros.,  1872.  20  1.  21  pi. 

Mackay,  Constance  D’Arcy.  How  to  produce  children’s  plays.  New  York,  H. 
Holt  & Co.,  1915.  151  p. 

“Books  that  will  be  of  help  to  dramatic  directors,  teachers,  social  workers: ” 
p.  151. 

Morley,  George,  of  Leamington,  Eng.  Shakespeare’s  greenwood,  the  customs  of 
the  country;  the  language;  the  superstitions;  the  customs;  the  folk-lore;  the 


THE  SHAKESPEARE  TERCENTENARY 


55- 


birds  and  trees;  the  parson;  the  poets;  the  novelist.  Boston,  L.  C.  Page  & Co., 
1901.  289  p. 

An  elaboration  of  articles  which  appeared  in  Knowledge,  Country  Life, 
and  the  Art  Journal. 

Palmer,  Henrietta  L.  The  Stratford  gallery;  or,  The  Shakespeare  sisterhood; 
comprising  45  ideal  portraits.  New  York,  D.  Appleton  & Co.,  1859.  302  p.  pL 

Rhead,  George  W.  Chats  on  costume.  London,  T.  F.  Unwin,  1906.  304  p.. 

117  illus. 

Bibliography:  p.  15-16. 

Shakespeare,  William.  The  comedies  of  William  Shakespeare,  with  many  drawings 
by  Edwin  A.  Abbey.  New  York,  Harper  & Bros.,  1896.  4 v. 

Shakespeare-gallerie.  Von  Adolf  Menzel,  C.  und  F.  Piloty,  Ed.  Griitzner,  Paul1 
Thumann,  u.  a.  Nach  den  im  Besitze  der  Verlagshandlung  befindlichen 
Original-cartons.  Mit  Text  von  M.  Ehrlich.  2 unveranderte  Aufl.  Berlin, 
G.  Grote,  1886.  30  p.  15  pi. 

Stone,  Melicent.  The  Bankside  costume  book  for  children.  London,  W.  Gardner, 
Darton  & Co.  [1913].  173  p.  illus.  plates. 

Thornbury,  George  W.  Shakespeare’s  England;  or,  Sketches  of  our  social  history 
of  the  reign  of  Elizabeth.  London,  Longman,  Brown,  Green  and  Longmans, 
1856.  2 v. 

“Dress:”  v.  1,  p.  231-257. 

Winter,  William.  Shakespeare  on  the  stage.  2d  series.  New  York,  Moffat, 
Yard  & Co.,  1915.  664  p. 

“Costume:”  p.  118-123,  332-336,  416-419. 

SHAKESPEAREAN  FESTIVALS  AND  PAGEANTS 

Albright,  Victor  E.  The  Shakespearian  stage.  New  York,  The  Columbia  Uni- 
versity Press,  1909.  194  p.  (Columbia  university  studies  in  English.) 

“Processional  plays:”  p.  23-28. 

Buckley,  Reginald  R.  The  Shakespeare  revival  and  the  Stratford-upon-Avon 
movement  . . . with  chapters  on  folk-art  by  Mary  Neal.  . . London, 
G.  Allen  & Sons,  1911.  237  p. 

“The  Stratford-upon-Avon  festival  movement  and  its  development:” 
p.  191-213;  “The  revival  of  folk-art:”  p.  214-227. 

Shakespeare  festival  at  Stratford-on-Avon.  World’s  work  (London) 

April,  1911,  v.  17:524-529. 

Figgis,  D.  Stratford-on-Avon  festival.  Academy,  April  26,  1913,  v.  84:  532-533. 

The  Official  programme  of  the  tercentenary  festival  of  the  birth  of  Shakespeare, 
to  be  held  at  Stratford-upon-Avon  commencing  on  Saturday,  April  23,  1864; 
also  an  account  of  what  is  known  of  the  poet’s  life;  . . . London,  Imprinted 
for  Cassell,  Petter  and  Galpin,  1864.  96  p.  illus. 

“Shakespearean  bibliography:”  p.  76-78. 

Plans  for  Shakespeare  festival  at  Stratford-on-Avon,  1910.  Graphic,  July  9,  1910, 
v.  23:  44. 

Shakespeare  festival.  Academy,  April  25,  1914,  v.  86:  533-534. 

Shakespeare  festival  at  Stratford-on-Avon,  1908.  Windsor  magazine,  May,  1908, 
v.  27:  747-768. 

Shakespeare  festival  at  Stratford-on-Avon,  1910.  Windsor  magazine,  May,  1910, 
v.  31:  731-748. 

Shakespeare  festival  at  Stratford-on-Avon.  Windsor  magazine,  May,  1911,  v. 
33:  727-744. 

Stephenson,  Henry  T.  Shakespeare’s  London.  New  York,  H.  Holt  & Co.,  1905* 
357  p. 

Pageants:  p.  12-13. 


56 


THE  SHAKESPEARE  TERCENTENARY 


Stratford-on-Avon  festival.  Windsor  magazine,  May,  1912,  v.  35:  725-740. 

Stratford-on-Avon  festival.  Windsor  magazine,  May,  1913,  v.  37:  731-748. 

The  use  of  an  international  Shakespeare  festival.  Review  of  reviews  (London), 
May,  1913,  v.  47:450-451. 

Woodley,  R.  C.  Conference  on  national  Shakespeare  pageant.  Playground, 
April,  1915,  v.  9:  14-16. 

PAGEANTRY 

American  pageant  association.  Bulletin  . . . 1913-1915.  New  York?  1913- 
1915. 

“Who’s  who’’  in  pageantry.  1st  ed.,  May,  1914.  New  York?  1914. 

12  p. 

Baker,  George  P.  America’s  pageantry  and  its  proper  development.  Art  and 
progress,  Jan.,  1913,  v.  4:  831-835. 

Pageant  and  masque  of  Saint  Louis.  World’s  work,  Aug.,  1914,  v.  28: 

389-399. 

What  the  pageant  can  do  for  the  town.  Ladies’  home  journal,  April, 

1914,  v.  31:  44. 

Baker,  J.  M.  Crowning  of  the  queen:  May-day  pageant  for  girls  and  boys.  St. 
Nicholas,  May,  1915,  v.  42:  634-637. 

Balfour,  Paul  J.  Processions.  Scottish  historical  review,  Oct.,  1897,  v.  30:  217-235. 
Bates,  A.  B.  York  pageant  and  others.  Chautauquan,  April,  1911,  v.  62:226-237. 

Bates,  Esther  W.  Pageants  and  pageantry.  Boston,  New  York,  Ginn  & Co., 
1912.  294  p. 

Bibliography:  p.  281-287. 

Bjorkman,  F.  M.  Nation  learning  to  play.  World’s  work,  Sept.,  1909,  v.  18: 
12038-12045. 

Bradley,  R.  M.  Fete  day  at  Avignon.  Nineteenth  century  and  after,  Oct.,  1907, 
v.  62:  634-649. 

Living  age,  Nov.  23,  1907,  v.  255:  485-498. 

Month  of  Mary  at  St.  Jean  de  Luz.  Nineteenth  century  and  after,  Aug., 

1908,  v.  64:  240-257. 

Living  age,  Sept.  19,  1908,  v.  258:  730-744. 

Branford,  V.  The  development  of  pageants  from  the  Greek  theatre.  Forum, 
Feb.,  1914,  v.  51:  217-231. 

Brown,  F.  C.  American  pageant  association.  Drama,  Feb.,  1913,  v.  9:  178-188. 

Budd,  Katherine  C.  Every  lawn  a theater.  World’s  work,  Oct.,  1911,  v.  22: 
14929-14939. 

Clark,  L.  A.  Pageantry  in  America.  English  journal,  March,  1914,  v.  3:  146-153. 

Coburn  players  in  the  Canterbury  pilgrims  [pictures].  Overland  monthly,  Nov., 

1912,  n.  s.,  v.  60:  409-412. 

Cook,  Margaret  M.  Japanese  festivals.  New  York,  Missionary  education  mov- 
ment  of  the  United  States  and  Canada,  1912.  87  p. 

Craig,  Mrs.  Anne  A.  T.  Book  of  the  Irish  historic  pageant ; episodes  from  the  Irish 
pageant  series  “An  dhord  fhiann.”  [New  York,  Printed  by  Francis  & Loutrel, 

1913. ]  56  p. 

“Notes  and  authorities  consulted:”  p.  53-56. 

The  dramatic  festival:  a consideration  of  the  lyrical  method  as  a factor  in 

preparatory  education.  New  York  and  London,  G.  P.  Putnam’s  Sons,  1912. 
363  p. 

Contains  bibliographies. 


THE  SHAKESPEARE  TERCENTENARY 


57 


Davis  Charles  B.  Queen  Titania  and  Prince  Charming  of  Asbury  Park.  Outing, 
magazine,  Sept.,  1906,  v.  48:  689-700. 

Davol  Ralph.  Description  of  the  Taunton  pageant.  Journal  of  American  history, 
April- June,  1912,  v.  6:  425-454. 

A handbook  of  American  pageantry. ^Taunton,  Mass.,  Davol  Pub- 
lishing Co.  [1914].  236  p. 

Reviewed  in  New  England  magazine,  March,  1915,  n.  s.,  v.  52:  242-245. 

Dickinson,  T.  H.  The  rise  of  pageants,  and  their  recent  history.  Play-book, 
Sept.,  1914,  v.  1:  3-31. 

Farwell,  A.  Community  music-drama:  will  our  country  people  help  us  to  develop 
the  real  American  theater?  Craftsman,  July,  1914,  v.  26:  418-424. 

Frazer,  J.  G.  The  Saturnalia  and  kindred  festivals.  Fortnightly  review,  Oct.- 
Nov.,  1900,  v.  74:  653-676;  825-849. 

Hard,  William.  Old  West  in  pageant;  the  historical  pageant  in  Illinois.  Outlook, 
Jan.  22,  1910,  v.  94:  182-190. 

Hare,  Walter  B.  A pageant  of  history;  an  entertainment  for  either  in-door  or  out- 
of-door  performance.  Boston,  W.  H.  Baker  & Co.,  1914.  57  p. 

Harrington,  H.  Poetic  drama  and  pageantry.  Overland  monthly,  Nov.,  1912, 
n.  s.,  v.  60:  409-418. 

Johnson,  M.  Chicago’s  renaissance:  an  old  Italian  pageant  in  a new- world  setting. 
Putnam’s  magazine,  April,  1909,  v.  6:  41-47. 

World  today,  Jan.,  1909,  v.  16:  303-306. 

Jump,  H.  A.  Festival  of  the  nations.  Survey,  June  4,  1910,  v.  24:  392-396. 

Langdon,  William  C.  New  York  conference  on  pageantry.  Drama,  May,  1914, 
no.  14:  307-315. 

Suggestions  for  the  celebration  of  the  Fourth  of  July  by  means  of 

pageantry  . . . with  an  article  and  notes  on  the  music  by  Arthur 

Farwell  . . . [New  York].  The  Division  of  recreation  of  the  Russell  Sage 
foundation,  1912.  56  p.  (Russell  Sage  foundation.  Dept,  of  child  hygiene. 

Pamphlets,  no.  114.) 

Lansing,  M.  F.  Historic  happenings  on  Boston  Common:  pageants  of  Revolu- 
tionary days.  New  England  magazine,  Aug.,  1910,  n.  s.,  v.  42:  727-731. 

Lincoln,  Jennette  E.  C.  The  festival  book;  May-day  pastime  and  the  May-pole; 
dances,  revels  and  musical  games  for  the  playground,  school  and  college.  New 
York,  The  A.  S.  Barnes  Co.,  1912.  74  p. 

Bibliography:  p.  73-74. 

Mackay,  Constance  D’Arcy.  Patriotic  plays  and  pageants  for  young  people. 
New  York,  H.  Holt  & Co.,  1912.  223  p. 

Plays  of  the  pioneers;  a book  of  historical  pageant  plays.  New  York  and 

London,  Harper  & Bros.,  1915.  174  p. 

Oberholtzer,  E.  P.  Historical  pageants  in  England  and  America.  Century  maga- 
zine, July,  1910,  v.  80:  416-427. 

The  pageant  in  the  making.  Blackwood’s  magazine,  Sept.,  1910,  v.  188:  314-326. 

Living  Age,  Oct.  22,  1910,  v.  267:  204-214. 

Pageants.  Macmillan’s  magazine,  Oct.,  1905,  v.  92:  452-458. 

Roberts,  Mary  F.  The  value  of  outdoor  plays  to  America.  Craftsman,  Aug., 
1909,  v.  16:  491-506. 

Soutar,  A.  The  making  of  a pageant.  Windsor  magazine,  June,  1910,  v.  32: 
35-44. 

Stuart,  E.  R.  Newer  aspects  of  pageantry.  New  England  magazine,  Jan.,  1913, 
n.  s.,  v.  48  : 540-543. 


58 


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Thoburn,  H.  Pageants  of  girlhood.  Good  housekeeping,  Aug.,  1913,  v.  57 : 228-231. 

The  use  of  pageant  in  education.  School  and  home  education,  Feb.,  1909,  v.  27: 
223-227. 

Wade,  H.  T.  What  the  pageant  does  for  local  history.  American  review  of  reviews, 
Sept.,  1913,  v.  48:  328-333. 

Wallach,  R.  T.  Social  value  of  the  festival.  Charities,  June  2,  1906,  v.  16:  314-320. 


COSTUMING  OF  PAGEANTS 

Bates,  Esther  W.  Pageants  and  pageantry.  Boston,  New  York,  Ginn  & Co., 
[1912].  294  p. 

“The  costuming  of  a pageant:’’  p.  56-68. 

Chubb,  Percival.  Festivals  and  plays  in  schools  and  elsewhere..  New  York  and 
London,  Harper  & Brothers,  1912.  402  p. 

“ Description  (with  cost)  of  a few  typical  costumes  worn  in  spring  festivals:” 

p.  348.354. 

Diagrams  showing  the  method  of  working  out  color  schemes  for  costumes 
by  Hamilton  A.  Wolf:  p.  330-333. 

Costuming  in  the  festival,  by  Marin  R.  Perrin:  p.  235-246. 

Costumes  in  the  costume  play.  Harper’s  weekly,  Feb.  8,  1902,  v.  46:  172. 

Parry,  Charlotte.  Lightning  changes  of  costume  and  makeup.  Green  book  album, 
Dec.,  1911,  v.  6:  1257-1264. 

Phillips,  R.  Costuming  the  modern  play.  Cosmopolitan  magazine,  March,  1902, 
v.  32:  475-488. 

[Wandle,  Mrs.  Jennie  T.]  Masquerade  and  carnival:  their  customs  and  costumes. 
Rev.  and  enl.  London  and  New  York,  The  Butterick  Publishing  Co.  (ltd.), 
1892.  176  p. 

Woodrow,  Mrs.  W.  Floral  head-dresses.  Cosmopolitan  magazine,  June,  1903, 
v.  35:  139-148. 


I 


THE  DRAMA  LEAGUE  OF  AMERICA 


General  Aims:  To  crowd  out  poor  plays  by  supporting  and  commending  good 
ones  and  building  up  audiences  for  them  through  study  classes,  reading  circles, 
dramatic  organizations,  and  lectures;  to  aid  in  the  restoration  of  the  drama  to  its 
honorable  place  as  the  most  intimate,  most  comprehensive,  most  democratic  medium 
for  the  self-expression  of  the  people. 

The  League  was  started  in  Evanston,  111.,  in  1910,  for  the  purpose  of  organizing 
a national  audience  for  a national  drama.  Its  object,  as  stated  in  its  constitution,  is: 

I.  To  stimulate  an  interest  in  the  best  drama  and  to  awaken  the  public  to  the 
importance  of  the  theater  as  a social  force  and  to  its  great  educational  value  if  main- 
tained on  a high  level  of  art  and  morals. 

LII.  To  harmonize  and  unite  forces  already  existing  for  making  this  movement 
ationwide. 

III.  To  coordinate  the  work  of  all  associations  and  individuals  interested  in 
ieducating  the  public  to  appreciate  and  demand  the  best  drama. 

I The  work  of  the  national  organization  is  done  through  local  centers  which  are 
now  established  in  nearly  all  of  the  principal  cities  and  many  of  the  smaller  towns, 
with  an  affiliated  membership  of  over  50,000,  covering  every  State  in  the  Union. 

The  work  of  the  local  center  is  done  through  its  officers,  directors  and  committees, 
of  which  the  principal  ones  are  Playgoing,  Educational  and  Organization. 

The  purpose  of  the  Playgoing  Committee  is  to  assist  the  theater  public  in  choos- 
ing its  plays  and  to  bring  better  plays  to  the  small  towns  by  insuring  support.  The 
committee,  which  is  composed  of  the  expert,  the  scholar,  the  man  of  business  and  the 
mere  lover  of  a good  play,  is  catholic  in  its  taste,  as  well  as  judicial  and  discriminating. 

As  new  plays  are  produced,  the  committee  attends  them  and  reports  by  means 
of  bulletins  on  those  that  are  best  worth  seeing.  These  bulletins  are  sent  by  mail 
to  all  members  of  the  League  and  to  all  clubs  and  other  organizations  affiliated  with 
the  League. 

In  addition  to  this  the  Circuit  Committee  is  organizing  an  extended  circuit  of 
League  towns,  where  chosen  League  plays  will  have  an  advance  subscription  sale 
large  enough  to  induce  the  producing  manager  to  bring  to  those  towns  plays  which 
would  not  otherwise  have  visited  them.  If  you  desire  more  good  plays  in  your  town, 
join  the  League,  organize  a center,  and  the  League  will  bring  you  its  special  plays. 

The  work  of  the  Educational  Committee  comprises  several  departments,  includ- 
ing an  information  bureau  for  dramatic  clubs  of  all  kinds,  the  formation  of  reading 
clubs  and  circles,  the  arrangement  of  study  courses  and  work  with  the  Juniors  in 
clubs,  schools  and  settlements. 

Under  the  Drama  Study  Committee  courses  and  outlines  are  prepared  to  aid 
clubs  and  individuals  in  the  study  of  drama.  This  committee  is  also  willing  to  give 
expert  advice  to  those  desiring  to  take  up  such  study. 

From  eight  to  ten  new  study  courses  are  in  preparation  for  use  this  year  by 
League  members  and  drama  students.  These  include  courses  on  American  Drama, 
Modern  Drama,  Shakespeare,  as  well  as  on  English,  French,  German  and  Scandina- 
vian drama  and  dramatic  technique  and  pageanty. 

A skilled  committee  composed  of  teachers  who  have  made  a special  study  of 
the  use  of  drama  in  High  School  work  prepares  courses  for  such  use  and  gladly  advises 
on  the  selection  of  plays  for  school  presentation.  Especial  effort  is  being  made  to 
.stress  the  value  of  introducing  the  use  of  the  dramatic  instinct  in  the  primary  schools 
/ as  well  as  in  settlements,  social  centers  and  playgrounds. 

A Festival  Committee  aims  to  list  and  tabulate  valuable  effort  in  pageantry 
and  festival  and  to  give  advice  on  the  best  way  to  proceed  to  undertake  a pageant 
or  festival. 

A special  committee  also  works  to  encourage  the  producing  of  worthy  drama  in 
rural  communities  by  groups  of  amateurs.  With  this  in  view  this  committee  has 
prepared  special  lists  of  plays  suitable  for  this  purpose  and  will  be  glad  to  give  advice 
on  how  to  undertake  a play,  as  well  as  to  recommend  competent  coaches  for  such 
work. 

Still  another  committee  works  with  libraries  in  an  effort  to  make  the  best  drama 
accessible  to  the  people  of  the  rural  communities. 

A special  national  committee  is  arranging  for  a nation-wide  celebration  of  the 
Shakespeare  Tercentennial.  Schools,  colleges,  clubs,  municipalities  are  planning 
to  participate.  The  League  will  be  glad  to  send  you  particulars  of  how  your  club 
or  school  or  town  can  do  its  share  either  in  pageant,  festival,  concert,  garden  celebra- 
tion, club  meeting  or  study  course.  This  is  the  great  Shakespeare  year;  join  the 
League  in  making  it  a great  national  renaissance. 


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SHAKESPEARE  TERCENTENARY 


The  League  is  promoting  the  nation-wide  celebration  of  the  Shakespeare  Ter- 
centenary, and  renders  every  possible  assistance  to  communities  and  organizatio: 
through  its  Tercentenary  Bureau.  Copies  of  its  Bulletins  may  be  obtained  o: 
application. 

Shakespearean  music  is  being  published  by  all  the  music  publishers,  and  phono- 
graph records  will  be  available.  Mr.  O.  G.  Sonneck,  head  of  the  music  division  i: 
the  Library  of  Congress,  has  prepared  a list  of  orchestral  compositions  inspired  b 
Shakespeare,  a copy  of  which  may  be  obtained  on  application  to  the  Drama  League. 

Shakespeare  Gardens — Information  regarding  the  planting  of  old  English  gardens 
containing  flowers  mentioned  in  Shakespeare’s  plays  may  be  obtained  from  Dr. 
George  C.  Moore,  director  of  the  Missouri  Botanical  Gardens  (Shaw’s  Gardens)  is 
St.  Louis. 

Tree  Planting — Mrs.  Robert  Carlton  Morris,  2648  Kirkwood  Lane,  Toledo, 
Ohio. 

American  Pageant  Association — President,  Mr.  Frank  Chouteau  Brown,  9 
Park  Place,  Boston;  secretary,  Miss  Mary  Porter  Beegle,  Barnard  College,  Net 
York. 

American  Society  of  English  Folk-Dancing — President,  Mr.  George  Pierce  Baker! 
Harvard  University;  secretaries,  Boston,  Mrs.  J.  J.  Storrow;  Pittsburgh,  Mrs.  Caleryj 
St.  Louis,  Mr.  Percival  Chubb;  New  York,  Miss  Mary  Porter  Beegle;  Chicago] 
Miss  Mary  Wood  Hinman,  1461  East  Fifty-third  Street. 


